UNLV Theses, Dissertations, Professional Papers, and Capstones
12-1-2012
A Critical Edition of Gustave Vogt's 4eme Solo de
Concert
Mark Runkles
University of Nevada, Las Vegas, [email protected]
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A CRITICAL EDITION OF GUSTAVE VOGT’S
4ÈME SOLO DE CONCERT
By
Mark Andrew Runkles
Bachelor of Arts in Music
St. Mary’s College of Maryland
May 2004
Master of Arts in Music
University of Iowa
May 2007
Master of Fine Arts in Music
University of Iowa
August 2008
A dissertation submitted in partial fulfillment
of the requirements for the
Doctor of Musical Arts
Department of Music
College of Fine Arts
The Graduate College
University of Nevada, Las Vegas
December 2012
THE GRADUATE COLLEGE
We recommend the dissertation prepared under our supervision by
Mark Andrew Runkles
entitled
A Critical Edition of Gustave Vogt’s 4ÈME Sole De Concert
be accepted in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
Department of Music
Stephen Caplan, D.M.A., Committee Chair
Anthony Barone, Ph.D., Committee Member
Taras Krysa, M.M., Committee Member
Michael Tylo, M.F.A., Graduate College Representative
Tom Piechota, Ph.D., Interim Vice President for Research &
Dean of the Graduate College
December 2012
ii
Abstract
As oboe professeur titulaire at the Paris Conservatory from 1816–53, Gustave
Vogt established his importance as a pedagogue by teaching many leading nineteenthcentury European oboists, and his influence can be traced to numerous living oboists.
Additionally, Vogt played a seminal role in developing a virtuosic Romantic oboe style
that paralleled the virtuosic styles developed for the more prevalent Romantic solo
instruments, the piano and violin. His music is rarely played today, and Vogt remains a
largely unknown figure even within the oboe community.
The purpose of this study is to develop a critical edition of Gustave Vogt’s 4ème
Solo de Concert suitable for performance by oboe and piano. This critical edition is
based on an examination of nine sources, including four manuscript sources from the
Bibliothèque nationale in Paris. In the process of discussing this edition, I will examine
Romantic wind performance practices on which there is little written information. These
performance practices include ornamentation and articulation.
iii
Contents
Abstract
iii
Introduction
1
Gustave Vogt
1
Antoine-Auguste Bruyant
5
The Editing Process for Gustave Vogt’s 4ème Solo de Concert
A Stemma for Gustave Vogt’s 4ème Solo de Concert
Figure 1: Stemma, Gustave Vogt’s 4ème Solo de Concert
The Sources
6
6
7
8
Source 1: Premier Concerto pour Hautbois Composé et Dedié
à Monsieur Sallentin Par son Élève Gustave Vogt,
Premier Hautbois de la Musique particuliere du
1er Consul, Oeuvre 1er. Biblioteca Conservatorio
di Musica in Milano, A.33 26 2
9
Source 2: Concerto Pour le hautbois par G. Vogt.
Bibliothèque nationale de France, Ms 16803
10
Source 3: Ancien 1er Concerto pour le Hautbois devenu
4ème Solo de Concert par G. Vogt. Bibliothèque
nationale de France, Vma.ms.442
11
Source 4: Partition du 4ème Solo de Concert par Gustave
Vogt. Bibliothèque nationale de France, Ms 16803
12
Source 5: 1er Concerto devenir 4ème Solo de Concert.
Bibliothèque nationale de France, Ms 16803
14
Sources 6 and 7: 4ème Solo de Concert pour Hautbois Avec
Accompt. de Piano Par G. Vogt. British Library,
h.2665(13.)
15
Sources 8 and 9: 4ème Solo de Concert pour Hautbois
16
A Formal Analysis of Gustave Vogt’s 4ème Solo de Concert
iv
18
Table 1: Movement I, Sonata-Allegro Form
24
Table 2: Movement III, Sonata-Allegro Form
27
Editorial Decisions
28
Articulation in Vogt’s 4ème Solo de Concert
31
Ornamentation in Vogt’s 4ème Solo de Concert
34
Conclusions
37
4ème Solo de Concert by Gustave Vogt, Piano
40
4ème Solo de Concert by Gustave Vogt, Oboe
73
Comparison of Sources: Movement 1
87
Comparison of Sources: Movement 2
99
Comparison of Sources: Movement 3
102
Critical Notes
120
Movement 1: Allegro non troppo
120
Movement 2: Adagio
165
Movement 3: Rondo Montagnard, Allegretto
178
Appendix 1: Table of Sources for Gustave Vogt's 4ème Solo de Concert
202
Appendix 2: Ornament Examples
203
Appendix 3: Vogt’s Ornamentation of Movement 3, Theme 1
204
Appendix 4: An Analysis of Vogt’s Ornamentation of Movement 1, Theme 1
208
Appendix 5: Table of Discrepancies between Sources 8 and 9
216
Manuscript and Printed Parts and Scores
219
Bibliography
219
Curriculum Vitae
223
v
Introduction
The purpose of this study is to develop a critical edition of Gustave Vogt’s 4ème
Solo de Concert suitable for performance by oboe and piano. In the process of discussing
this edition, I will examine Romantic wind performance practices on which there is little
written information. These performance practices include ornamentation, articulation,
and dynamics. This critical edition is based on an examination of nine sources. Four of
the sources are manuscripts from the Bibliothèque nationale in Paris. The other five
sources are published editions, one by Pleyel from the Conservatorio di Musica in Milan,
two by Richault from the British Library, and two by Editions Costallat from the
University of Iowa. I have consulted copies of the Editions Costallat score but have
relied on images of the other sources provided by each library.
Gustave Vogt
As professeur adjoint (1809–15) and professeur titulaire (1816–53) of oboe at the
Paris Conservatory, Gustave Vogt (1781–1870) established his importance as a
pedagogue by teaching many important nineteenth-century European oboists. 1 His
influence can be traced to numerous currently living oboists. Vogt’s students included
the following distinguished performers and pedagogues: Henri Brod, Louis-Auguste
Vény, A. M. R. Barret, Louis-Charles Triébert, Stanislas Verroust, Antoine-Joseph
1
Geoffrey Burgess, The Premier Oboist of Europe: A Portrait of Gustave Vogt
(Lanham, Maryland: Scarecrow Press, 2003), 23.
1
Lavigne, and Charles-Joseph Colin. 2 Colin, who was the oboe professor at the Paris
Conservatory from 1868–81, 3 taught Georges Gillet (1854–1920). 4 Gillet taught, among
others, Marcel Tabuteau (1887–1966), who became the principal oboe with the
Philadelphia Orchestra under Leopold Stokowski and taught many of the leading
American oboists of the early and middle twentieth-century. 5
Gustave Vogt descended directly from the Italian Baroque tradition of virtuosic
oboe playing. He was taught by Antoine Sallantin (1755–1830), the first oboe professor
at the Paris Conservatory whom Vogt would succeed in 1816. 6 Sallantin traveled to
London in the early 1790s to study with Johann Christian Fischer (1733–1800), 7 who,
along with Carlo Besozzi, was one of the leading oboe soloists of his era. 8 Fischer is
purported to have studied with the leading oboist in Germany and father of Carlo,
Antonio Besozzi (1714–1781). 9 Antonio Besozzi was the nephew of the famous
Alessandro Besozzi (1702–1793), who toured throughout Europe, including Paris, to high
2
Burgess, 25–8.
Ibid., 28.
4
Geoffrey Burgess, “Gillet Georges(-Vital-Victor),” Grove Music Online,
http://www.oxfordmusiconline.com.ezproxy.library.unlv.edu/subscriber/article/grove/mu
sic/45247?q=Gillet%2C+George&search=quick&pos=1&_start=1#firsthit (accessed
October 22, 2012).
5
Geoffrey Burgess and Bruce Haynes, The Oboe (New Haven: Yale University Press,
2004), 199.
6
Ibid., 90.
7
Ibid.
8
Ibid., 87.
9
T. Herman Keahey, “Fischer, Johann Christian,” Grove Music Online,
http://www.oxfordmusiconline.com.ezproxy.library.unlv.edu/subscriber/article/grove/mu
sic/09727?q=Fischer&search=quick&pos=11&_start=1#firsthit (accessed October 22,
2012).
3
2
critical acclaim. Alessandro came out of the early eighteenth-century culture of Italian
dominance in virtuoso oboe playing and composing. 10
In addition to his pedagogical importance, Vogt performed prolifically in Paris
and throughout Europe. His two major performing appointments were as principal oboe
of the Paris Opéra from 1812–34 and principal oboe of the Royal or Imperial Chapel
from its reinstatement by Napoleon in 1802 until its dissolution in 1830. Vogt was also
the principal oboist with two major Paris concert societies, the Société des Concerts du
Conservatoire and Société académique des enfants d’Apollon. It was for performances
with these two concert societies as well as his involvement with another Parisian concert
society, the Exercices des Élèves du Conservatoire, that Vogt needed to write his own
solo oboe music. 11
Vogt’s compositional output includes sixteen concertos, at least nineteen fantasies
or theme and variations, and works for various chamber ensembles. At the Paris
Conservatory, he studied composition with Jean-Baptiste Rey and Antonin Reicha. 12
Vogt played a seminal role in developing a virtuosic Romantic oboe style, which reached
its height in the works of Lalliet and Pasculli among others. This style paralleled the
virtuosic styles developed by Paganini, Liszt, and Chopin for the more prevalent
Romantic solo instruments, the violin and piano. However, unlike the music of Paganini,
Chopin, and Liszt, Vogt’s music is rarely played today, and Vogt remains a largely
unknown figure even within the oboe community. His music is rarely played today for
two main reasons. First, Vogt did not maintain a widespread public reputation beyond
10
Burgess and Haynes, 81.
Burgess, A Portrait of Gustave Vogt, 5–11.
12
Ibid., 60.
11
3
his death because of the oboe’s relative neglect as a solo instrument in comparison to the
piano and violin. Second, much of Vogt’s music is not currently in print and available to
performers.
Vogt’s career spanned two important transitions. The first is Classicism to
Romanticism. With the shift from the Classical to the Romantic, compositions included
more detail. This makes the performer less of a collaborator in the compositional process
and more of an interpreter. Where before the composers left details such as articulation
and ornamentation to the performer, they now began to meticulously write out
everything. To go along with performance becoming interpretive, virtuoso soloists were
becoming interpreters of others’ work rather than composers of their own solo repertoire.
The second important transition that occurred during Vogt’s career was the
transition from the non-keyed to the keyed oboe. Prior to Vogt, oboes generally
contained no more than two keys, the C1/C-sharp1 key and the E-flat key. Vogt was in
fact one of the earliest to produce a fingering chart for an oboe using more than two keys
in an unpublished method that he wrote between 1816 and 1825. 13 Whereas oboists were
rarely required to play in keys with more than three sharps or three flats prior to the
Romantic era, they increasingly needed to be able to play in all keys as the Romantic era
progressed. To facilitate playing in complex keys, keywork was added to the oboe. The
oboes of previous eras were made of boxwood, which is a light wood that is easy to blow;
however, boxwood was too light to support the key mechanism needed for the advancing
times. It warped frequently, which caused the mechanism to fall out of adjustment and
the oboe to not play properly. Oboe makers eventually switched to grenadilla wood,
13
Burgess and Haynes, 107–8.
4
which is the predominant wood in use today. Though the grenadilla wood could support
the new mechanism, the downside was that it was harder to blow, and long phrases that
would have been easier to execute on a boxwood oboe became much more difficult to
play. This would later have a significant bearing on my research as the later versions of
Vogt’s solo were shorter and added more rests for the soloist.
Antoine-Auguste Bruyant
Antoine-Auguste Bruyant (1827–1900) studied with Vogt at the Paris
Conservatory from 1844–9. 14 While not particularly important as an oboist, Bruyant
played a crucial role in preserving Vogt’s music. “Vogt donated his music collection and
instruments to Bruyant, and once they were in his possession, he acted as his teacher’s
self-appointed musical editor and publicist. Up to Vogt’s death, Bruyant sought his
teacher’s approval of his arrangements and editions.” 15 Bruyant was known to perform
Vogt’s compositions and attempted to publish many of them. Burgess adds that Bruyant
“was careful to print only the versions of each work which best represented his master’s
intentions.” 16 Bruyant is a key figure in creating an edition of Vogt’s 4ème Solo de
Concert because he provided a full orchestral score in his own hand, a commentary note
on the orchestral score in Vogt’s hand, a piano reduction, and quite probably edited four
of the five published sources.
14
Burgess, A Portrait of Gustave Vogt, 27.
Ibid., 24.
16
Ibid., 25.
15
5
The Editing Process for Gustave Vogt’s 4ème Solo de Concert
The nine available sources present the piece in various stages of revision; thus,
there are numerous discrepancies between the sources. Editing Vogt’s 4ème Solo de
Concert presents the challenge of determining the authority of one version over other
equally viable versions when resolving each individual discrepancy. The most common
type of discrepancy is in articulation. Each articulation discrepancy by itself would have
a minimal impact on the overall effect of the piece; however, the sheer number of these
discrepancies makes sorting through the articulations a major task. Other discrepancies
are in movement titles, cuts, melodic content including ornamentation, dynamics, and
minor tempo changes such as the presence of a rallentando or ritardando and the
subsequent return to the original tempo. Decisions had to be made on these discrepancies
to coalesce the information within the nine sources into one critical edition.
A Stemma for Gustave Vogt’s 4ème Solo de Concert
As a tool to aid in the editing process, I have created a stemma for Gustave Vogt’s
4ème Solo de Concert. See Figure 1. Understanding the filiation of the texts assists in
prioritizing the sources when solving a specific editorial issue by providing insight into
the origins and purpose of the element in question as well as its place within the history
of the piece. There are seven available texts, labeled A through G, for the work. The
following is a list of titles.
A
B
Premier Concerto pour Hautbois (Source 1)
Concerto pour le Hautbois (Source 2)
6
C
D
E
F
G
Ancien 1er Concerto pour le hautbois devenu 4ème Solo de Concert (Source
3)
1er Concerto devenir 4ème Solo de Concert (Source 5)
Partition du 4ème Solo de Concert pour hautbois (Source 4)
4ème Solo de Concert pour hautbois avec accompagnement de piano,
Richault (Sources 6 and 7)
4ème Solo de Concert pour hautbois, Editions Costallat (Sources 8 and 9)
There are likely at least four manuscript scores of the piece that are no longer extant. The
number is based on the assumption that the parts and piano reduction were copied from a
score. The missing scores have been labeled X1–4. Three of them are scores from which
the parts labeled A, B, and D would have been copied. X4 is the score from which
Bruyant would have made the piano reduction that is F.
Figure 1: Stemma, Gustave Vogt’s 4ème Solo de Concert
There are four versions of the piece.17 The earliest version comprises X1 and A.
This version, Version 1, consisted of two movements. Version 2, which is X2, B, and C,
17
Charles-David Lehrer, “The Nineteenth Century Parisian Concerto,” (PhD diss.,
University of California at Los Angeles, 1990), 201.
7
underwent several drastic changes from Version 1. A third movement was added. This
movement appears in all subsequent versions of the piece. The adagio section from the
second was expanded to form a new second movement. The remainder of the first
version’s second movement was discarded. The ornamentation of themes and figuration
of transitions were changed. Much of the development section in the first movement was
rewritten, and the opening tutti was reduced from 69 to 46 measures.
Version 3 consists of X3, D, and E. Several changes were made between
Versions 2 and 3. Significant portions are cut in the first and third movements. The cut
in the first movement and a reworked ending for the second movement turn these
movements into fragments. More complex ornamentation has been added, especially to
theme 2 in the first movement and theme 1 in the third movement. There are instances
in each movement where an extra measure of rest has been added to the solo part. The
transition, theme 2, and the coda of the third movement were revised.
Version 4 consists of X4, F, and G. With a different cut in the first movement,
Version 4 retains more of the development than Version 3. The themes in Version 4 are
less ornamented than the themes in Version 3. Version 4 combines the melodic elements
of Versions 2 and 3.
The Sources
Several questions related to issues of historical context must be considered before
beginning the critical examination of each source. What is the role of the composer?
Who is the intended performer? Who is the scribe or editor? What is his relationship to
8
the composer, and what is his agenda in creating the text? What is the purpose of the text
itself? The answers to these questions can provide possible answers as to why certain
melodic, articulation, and dynamic elements are present in one source and not another.
The piece began as an oboe concerto written for Vogt’s teacher, Antoine
Sallantin. It was later used as a concours piece for Vogt’s students at the Paris
Conservatory where it acquired the title 4ème Solo de Concert. The sources have been
numbered in their approximate chronological order.
Source 1: Premier Concerto pour Hautbois Composé et Dedié à Monsieur Sallentin Par
son Élève Gustave Vogt, Premier Hautbois de la Musique particuliere du 1er
Consul, Oeuvre 1er. Biblioteca Conservatorio di Musica in Milano, A.33 26 2
Source 1 is an oboe part without a corresponding orchestral or piano
accompaniment and is the oldest version of the piece. It contains ten pages, two of which
are blank. It is titled as follows: Premier Concerto pour Hautbois Composé et Dedié à
Monsieur Sallentin Par son Élève Gustave Vogt, Premier Hautbois de la Musique
particuliere du 1er Consul, Oeuvre 1er. Also included on the title page is the insignia of
Ignaz Pleyel and a price of 7.10. Unlike the rest of the sources, Source 1 contains only
two movements. The first is titled Allegro Maestoso, and the second is titled Thema con
Variazione: Allegretto. In “The Premier Oboist of Europe,” A Portrait of Gustave Vogt,
Geoffrey Burgess gives the date for Source 1 as “c.1804.”18 This is the year that the
French consulate was dissolved and Napoleon crowned himself emperor.19 Vogt joined
18
Burgess, A Portrait of Gustave Vogt, 134.
Angus Konstam, Historical Atlas of the Napoleonic Era (London: Mercury Books,
2003), 53.
19
9
the Musique particuliere when it was instituted by Napoleon in 1802;20 therefore, his title
would place the date of publication between 1802 and 1804.
Source 2: Concerto Pour le hautbois par G. Vogt. Bibliothèque nationale de France, Ms
16803
Source 2 is an oboe part without a corresponding orchestral or piano
accompaniment. This manuscript was probably produced between 1806 and 1812
because it is titled Concerto Pour le hautbois par G. Vogt et copie par lui-même. The
title, Concerto pour le hautbois, appears in concerts for the Exercises des Élèves du
Conservatoire during this time period.21 The title was written on a square of blank paper
and laid over a sheet of staff paper with the title Hautbois Principal. This oboe part was
written by Vogt because the title sheet states that the piece was composed and then
copied by Vogt. Source 2 contains sixteen pages. Several pages of Source 2 contain
music that has been crossed out and what appears to be sketches of music. Source 2 is
the least edited of the nine sources. It has been prepared in portrait, and the music is
notated on the recto and verso of each leaf. The binding still appears to be intact.
Source 2 is written in the hand of the composer, and the composer and performer
are one and the same. This copy of the work was intended for Vogt’s personal
performance with Parisian concert societies. It was intended to showcase Vogt’s
technical facility and lyricism to the upper and middle class members that would have
attended these concerts. The work takes on a more serious nature because it is a concerto
rather than a fantasy or theme and variations based on popular melodies; therefore, it is
20
21
Burgess, A Portrait of Gustave Vogt, 9.
Ibid., 12.
10
likely that Vogt meant to display his compositional technique in handling form and style.
This text was intended for personal use, as opposed to other players’ use, because several
sections are crossed out and rewritten. There are three sketches within the text that are
not meant to be performed. One of these sketches appears to be of another piece entirely,
possibly his Morceau à première vue Pour le hautbois, concours de 1827, 1830, 1841,
1876. The other two sketches are incomplete. One is a different fioritura for part of the
second theme in the exposition of the first movement; the other appears to be an attempt
at an alternate and expanded retransition to the second theme in the recapitulation of the
first movement. Because of these sketches, Source 2 seems to be a working document in
addition to being used for performance.
Source 3: Ancien 1er Concerto pour le Hautbois devenu 4ème Solo de Concert par G.
Vogt. Bibliothèque nationale de France, Vma.ms.442
Source 3, titled Ancien 1er Concerto pour le Hautbois devenu 4ème Solo de
Concert par G. Vogt,22 is a full orchestral score with the following instrumentation: solo
oboe, one flute, two clarinets, two horns, two trumpets, two bassoons, violin 1, violin 2,
viola, and cello and double bass. The bottom left of the title page contains “Pour le
Conservatoire,” and underneath this appear to be Auguste Bruyant’s initials. The score is
written in Bruyant’s hand. The call number Vma.ms.442 is written at the bottom of the
page. Source 3 contains eighty-six pages that are hand-numbered in the top outer corner.
Inserted in the score after page 44 are two pages of short score. Unlike the rest of
22
Burgess, Burgess, A Portrait of Gustave Vogt, 135. The form of the verb devenir is
unclear in the image. It could be either devenir or devenu. Devenu is its past tense form
and should be accompanied by an auxiliary verb. Because it is unclear, the title has been
taken from Burgess.
11
the score that is written in portrait, these inserts have been written in landscape. Unlike
the rest of the score, these pages were written by Vogt. The instrumentation in the short
score pages is as follows: oboe, violin 1, violin 2, viola, and cello and double bass. The
first page is titled Adagio and contains the first sixteen measures of the second
movement. Written at the top of the page are the notes “incomplet” (incomplete),
“Adagio du 1er Concerto” (Adagio of the 1st Concerto), and “plus modern que la petite
partition” (a more modern short score). The second page shows a cut in the first
movement that will link it to the second movement. The following is written at the top of
the page: “(compris?) pour enchainer l’Adagio” (included for linking the Adagio). This
is the same cut found in Sources 6–9. Beneath the cut is what appears to be an alternate
version of the transition to theme 2 in the exposition of the first movement.
Source 4: Partition du 4ème Solo de Concert par GustaveVogt. Bibliothèque nationale de
France, Ms 16803
Source 4, titled Partition du 4ème Solo de Concert par Gustave Vogt, is a full
orchestral score with the following instrumentation: three trombones, two trumpets, two
horns, two B-flat clarinets, one flute, two bassoons, the solo oboe, violin 1, violin 2,
viola, cello, and double bass. Placed on top of the title page is a note by Auguste Bruyant
that does not appear to be part of the original title page. The call number, Ms 16803, and
“No 83” as well as “(Non?) Complet” appear darker in the image than the title and the
note and may have been written later.
The score contains seventy-one pages that are hand-numbered in the top outer
corner. Several pages lacking page numbers have been added to the third movement.
12
Some of the pages in the third movement are out of order and appear to be alternate
versions of various passages. One of the unnumbered leaves has a section cut out of it.
Empty wind staves in several pages of the third movement were used to notate sketches
for parts of the first and second movement. The pages were not numbered to the end of
the third movement, and the correct music does not follow on all of the successively
numbered pages. I have not determined how and when these pages were inserted into the
score and how and when the pages were numbered.
Several questions arise from the order of pages in the third movement. Some of
the added pages seem to be from other sources because of the writing in the margins. If
they were from other sources, from what other sources did they come? When were they
added and why? To determine the correct order of pages, I used the solo oboe and first
violin parts from Source 5. These parts bring up other issues because each part is titled
1er Concerto. Because of their titles, these parts probably pre-date Source 1, or else why
did Bruyant not update the title to 4ème Solo de Concert? Was this text ultimately meant
for students at the Conservatory or Bruyant’s own performance?
This score is in Vogt’s hand according to Burgess.23 The score was prepared in
landscape with the music notated on recto and verso of each leaf. The manuscript was
previously bound, but the binding appears to have fallen apart. Currently, the score
appears to be held together by one stitch in the upper left-hand corner; however, from the
copies I possess, I cannot determine whether or not this stitch was part of the original
binding.
23
Geoffrey Burgess, email message to author, June 27, 2012.
13
Bruyant’s note on the score is dated January 1869, when Vogt was eighty-seven.
It is unlikely this text was prepared for Vogt’s own performance at one year prior to his
death. Indeed, Vogt’s last recorded public performance occurred in April, 1843.24 In his
note, Bruyant writes that this piece is as Vogt desired it (Ce morçeau…est tel que Mr
[V]ogt le désirait).25 As it appears, this text seems to be a draft.
Source 5: 1er Concerto devenir 4ème Solo de Concert. Bibliothèque nationale de France,
Ms 16803
Source 5 is an incomplete set of orchestra parts. It contains the following parts in
order: solo oboe, first violin, second violin, viola, first trombone, second trombone, third
trombone, clarinets in B-flat (2), bassoons (2), horns in F (2), and trumpets in F (2). If
the orchestration of Source 5 is consistent with the orchestration of Source 4, then this set
is missing cello, double bass, and flute parts. The oboe part is titled 1er Concerto devenir
4ème Solo de Concert.26 Written in darker ink is the part title, hautbois solo. The oboe
part in Source 5 contains eight pages. It has been prepared in portrait with the music
notated on recto and verso of each leaf. According to Burgess, it was written by Vogt.27
The oboe part from Source 5 largely follows the oboe part in Source 4; however, some of
the ornaments and articulations are slightly different. Source 5 also contains the most
specific dynamic indications of the nine sources.
Source 5 appears to be a completed version of the text as there are no revisions
found within it. It is possible that the oboe part in Source 5 was originally titled 1er
24
Burgess, A Portrait of Gustave Vogt, 15.
Burgess, A Portrait of Gustave Vogt, 142. The image of the note is illegible.
26
Ibid., 142. See note 22.
27
Geoffrey Burgess, email message to author, June 27, 2012.
25
14
Concerto, and that devenir 4ème Solo de Concert was added later. The other orchestra
parts are only titled 1er Concerto. It is possible that the oboe part represents a different
version of the piece from the orchestra parts because I have found a section at the end of
the coda of the third movement in which the number of measures in the oboe part does
not match the number of measures in the first violin part.
The title 4ème Solo de Concert suggests that the piece was intended for study at the
Paris Conservatory. The transformation likely took place between 1846 and 1869.
Burgess suggests that the 3 ème Solo de Concert was used for the concours in 1845 or
later.28 It follows that the 4ème Solo de Concert would have been used the following year.
1869 is the year of Bruyant’s note on the title page of Source 4. It seems he was aware
that the bass, and flute parts were missing because he adds at the bottom of the note that
the bass and flute parts are to be copied (“Les parties à Basse et flûte sont à copier”).
Sources 6 and 7: 4ème Solo de Concert pour Hautbois Avec Accompt. de Piano Par G.
Vogt. British Library, h.2665(13.)
Sources 6 and 7 are titled 4ème Solo de Concert pour Hautbois Avec Accompt. de
Piano Par G. Vogt, Op. Posthume. La Partie de Piano par A. Bruyant, Membre de la
Société des Concerts du Conservatoire. The insignia of Simon Richault is in the bottom
right corner of the title page. Sources 6 and 7 are bound together for a combined thirty
pages. Burgess gives the date as 1884,29 and the British Library gives it as 1885.30 Even
28
Burgess, A Portrait of Gustave Vogt, 141.
Ibid., 142.
30
British Library, “Gustave Vogt,”
http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=1&tab=local_tab&dstm
29
15
though the oboe part is first in the score, it has been designated as Source 7, and the piano
part has been designated as Source 6. They have been numbered this way to be
consistent with the numbering of Sources 8 and 9.
Sources 8 and 9: 4ème Solo de Concert pour Hautbois
Source 8 is a score reduction for oboe and piano. Source 9 corresponds to the
oboe part within the piano score. Source 8 and Source 9 were published posthumously
by Editions Costallat. This edition is a reprint of the edition published by Richault that
are Sources 6 and 7. Sources 8 and 9 are titled 4ème Solo de Concert pour Hautbois. The
piano reduction was made by Auguste Bruyant. Source 8 has nineteen pages, and Source
9 has seven pages. They both follow Sources 2 and 3 more closely than they follow
Sources 1, 4, or 5.
The documents in hand for Sources 8 and 9 are not original, only copies. Editions
Costallat was a French publisher located in Paris. Prior to 1929, the firm was known as
Costallat et Cie. The name changed to Editions Costallat in 1929, which is the name on
Sources 8 and 9. Lucien de Lacour, the editor, died in 1950; therefore, the name of the
firm and the presence of de Lacour as the editor place the date of publication between
1929 and 1950.31 Editions Costallat acquired the rights to this version when they took
p=1352235654878&vl(freeText0)=Gustave+Vogt&fn=search&vid=BLVU1&mode=Basi
c&fromLogin=true (accessed October 22, 2012).
31
Cecil Hopkinson, A Dictionary of Parisian Music Publishers: 1700–1950 (New York:
Da Capo Press, 1979), 31.
16
over Richault, the original publisher of the piece, in 1898.32 Why was this edition
created, and what text was used to create it? One possible reason for creating this edition
is that the work was revived as a concours piece for the Paris Conservatory. Aside from
that, it is doubtful that Vogt’s works would have generated much of an audience in the
early and middle twentieth-century. The text or texts used to create these sources would
derive from Sources 2 and 3. The ornamentation more closely follows Sources 2 and 3
than Sources 1, 4, or 5. (See Appendices 6, 7, and 8 for a comparison of the sources.)
Even though they are supposed to correspond to one another, there are numerous
discrepancies between Source 8 and Source 9. Many of these discrepancies involve
articulation, but they also include dynamic instructions and ornaments. See Appendix 9
for a list of discrepancies. How did the discrepancies between Sources 8 and 9 occur?
This question raises others on the sources used for the preparation of the edition. What
sources were consulted for the preparation of these two texts? Was only one source used,
or were multiple sources used? Are the discrepancies a result of scribal error or multiple
viable readings? If editorial error is to blame, where did it originate? Was it in these
texts, the text used to create Sources 8 and 9, or other older texts? It is likely Bruyant had
a hand in editing these sources as he was known to edit Vogt’s works in preparation for
posthumous publication.33
Bruyant probably used a text or texts that are no longer extant based on three
things. First, the cut for the first movement used in Sources 6–9 is only found as an insert
32
Richard Macnutt, “Richault,” Grove Music Online,
http://www.oxfordmusiconline.com.ezproxy.library.unlv.edu/subscriber/article/grove/mu
sic/23394?q=Richault&search=quick&pos=1&_start=1#firsthit (accessed October 22,
2012).
33
Burgess, A Portrait of Gustave Vogt, 25.
17
to Source 3. Second, the second movement is in 4/4 time rather than 2/4, and Bruyant
mentions in his note to Source 4 that the second movement is in 2/4 so the
accompaniment will not rush (L’adagio est écrit à ce temps, parce que les
accompagnateurs tendait à presser).34 This suggests that another version contained the
second movement in 4/4 time. Third, some of the melodic content and ornamentation is
different enough from the extant manuscript sources that it likely came from another
source. While discrepancies could have come from using multiple sources, it is also
possible that they crept into the text by careless editing.
A Formal Analysis of Gustave Vogt’s 4ème Solo de Concert
Before a critical edition can be created, it is necessary to understand the formal
construction of the piece. Identification of the parts within the complete form of each
movement will give the editor an understanding of which parts are missing, added, or
replaced in the other texts. The following is an analysis of my edition (See Appendix 1),
which restores the cuts from the later versions and contains the complete form for all
three movements. Understanding the form will also possibly give the editor enough
information to recreate missing sections in the available accompaniment. By comparing
figures that occur in both the exposition and recapitulation in sonata-allegro form, it may
be easier to reconcile certain discrepancies or ambiguities in one section or the other.
Sources 2 through 9 all contain three movements. The first and third movements
are in sonata-allegro form. The second movement is through-composed, possibly
34
Ibid., 142.
18
because of its origins as a section in the larger rondo form. It begins with a four-bar
piano introduction in B-flat major, the key of the movement, before the oboe enters.
The introduction sets up a compositional technique that Vogt uses throughout the
movement. Instead of resolving to B-flat major on beat one of m. 4, Vogt delays that
resolution to a weaker beat, beat three, in the measure. The first strong cadence in the
movement does not occur until mm. 33 and 34 and is in B-flat major. A case could be
made for viewing the form as binary. The A section would end in m. 23 even though
there is no strong cadence. The oboe finishes on an F3, a note that Vogt thought should
be reserved for special occasions, mostly at the end of a piece.35 This is one of only five
appearances of F3 in this piece. One appearance is at the end of the first movement, and
the other two are in the final movement, one at the end of the exposition and two at the
end of the movement.
The harmonic progression in m. 22 and 23 is also unusual. It moves from a G
half-diminished chord on beat three of m. 22 to a German augmented sixth chord on beat
three to an F major chord on beat one of m. 23. It seems like there should be a resolution
to B-flat major in m. 24 or later in m. 23; however, B-flat major does not appear until the
middle of the next phrase in m. 25. In Sources 2 and 3, the movement ends in B-flat
major; however, in Sources 4 through 9, the movement ends on a half cadence in F
major, the key of the final movement.
As with the second movement, the first movement in Sources 4 through 9
concludes on a half cadence in the key of the following movement. It finishes on an F7
since the second movement is in B-flat major. The overall structure of the first
35
Burgess, A Portrait of Gustave Vogt, 92–3.
19
movement is in sonata-allegro form; however, it combines this form with the Baroque
ritornello form. Lehrer actually labels the form as “Ritornello-Sonata Form.”36 See
Table 1 for the formal divisions of this movement. The opening tutti is used as a
ritornello section between episodes in the solo oboe. As first seen in m. 1, the half-note
followed by a dotted quarter-note trill and two 16th notes is a rhythmic motif that reoccurs
in the accompaniment throughout the first movement. It will be referred to as the
accompaniment motif.
Theme 1 enters in m. 17 in the oboe part. It is sixteen measures in length and is
divided into four four-bar phrases with the last phrase resolving on the downbeat of the
fifth measure and eliding with the accompaniment motif. The first four bar phrase moves
from I to V. The second phrase moves from V back to I. The third phrase moves
deceptively from I to vi, and the final phrase moves from V7/IV to I and ends on a perfect
authentic cadence. Already evident in theme 1 is Vogt’s use of large leaps, leaps of one
octave or more. To open the first four-bar phrase in m. 17, Vogt leaps down one octave.
The music leaps down a perfect twelfth to begin the second four-bar phrase in m. 21.
Measures 29 and 30 each contain a leap a perfect fifteenth.
Most oboe melodies up until this point were either scalar or arpeggiated. The
large leaps in this piece are unusual because the oboe generally does not lend itself to
making these large leaps, which occur mostly in the first movement. Large intervals
were difficult to play on the oboe partly because the octave key had not yet been
incorporated into the oboe’s design. As the upper range of the oboe’s tessitura was
required with more frequency during the Romantic era, instrument builders experimented
36
Lehrer, 222.
20
with narrower bores, changes in tone-hole dimensions and placement, and octave or
speaker keys to help facilitate the higher register. The melodic writing in the second and
third movements is much more typically idiomatic of the oboe.
After a shortened version of the opening ritornello is heard to reinforce the tonic
key of F major, the oboe begins the transition in m. 37. The transition is in three parts.
Part 1 is a four-bar phrase tonicizing C major, the key of the upcoming second theme.
Part 2 is a fourteen-bar phrase. The German augmented sixth chord in m. 54 resolves to a
G major triad in m. 55 to create a half cadence in C major. This cadence is very similar
to the one found in mm. 22–3 of the second movement. The transition concludes with a
seven-bar phrase in the accompaniment that resolves in a perfect authentic cadence in C
major in mm. 61 and 62. The accompaniment motif appears in an altered form in mm. 55
and 57.
Beginning in m. 62, theme 2 elides with the end of the transition and is thirty-two
measures. It consists of four eight-bar phrases. The first eight-bar phrase ends in an
imperfect authentic cadence in the new tonic of C major, which is the dominant of the
tonic F major. The second eight-bar phrase ends on a half cadence. The third phrase of
theme 2 is a repeat of its first phrase with the accompaniment playing the first four
measures. The fourth eight-bar phrase is a repeat of theme 2’s second phrase; however,
instead of moving to the dominant, it concludes with a perfect authentic cadence in C
major.
The closing section of the exposition is twenty-four bars long. It is in two parts
and concludes with a perfect authentic cadence in C major. Containing the first cadential
trill of the piece, this cadence signals the conclusion of the exposition. Part 1 of the
21
closing section is an eight-bar phrase that consists of a four-bar phrase, played forte, and
its repeat played piano. Part 1 is elided into part 2, which is a longer fourteen-bar phrase
ending with the cadential trill. Several large intervals, including diminished fourteenths
and diminished thirteenths, are incorporated into the melodic line.
The resolution of the exposition is elided with the development, which opens with
the accompaniment motif from the beginning of the piece. It then proceeds with a
variation on the opening material. This section lasts for sixteen measures as it does in the
beginning. The oboe then reenters in m. 134 with a variation on theme 1. While it is not
melodically the same, mm. 134–51 follow the same harmonic progression as the four
four-bar phrases of theme 1 from the exposition. Episode IV ends with a perfect
authentic cadence in C major and the second cadential trill in the movement.
The accompaniment motif then returns. It corresponds to the same four bars in
the exposition and serves to reinforce the key, this time in C major. The retransition
begins in m. 155 and ends in m. 197. The first eleven measures, 155–165, modulate up a
minor third to a perfect authentic cadence in E-flat major in mm. 164 and 165. The
accompaniment reinforces E-flat major for one bar before the oboe reenters with a
variation on the first four measures of theme 2 beginning in m. 166. E-flat major is shortlived before the music shifts back to C major in m. 170 for a repeat of the first four
measures of theme 2 in the new key. Instead of resolving in C major the resolution of
this phrase begins a modulation to D minor in m. 174. The next part of the development
remains in D minor, the relative minor to F major. The phrase beginning with the three
8th note pickups to m. 191 modulates back to F major for the recapitulation. The
dominant pedal, C begins in m. 193.
22
Measure 198 begins the recapitulation with the entrance of theme 2 in F major. It
is unusual that theme 1 is never heard in the recapitulation, even in the earliest version of
the piece. Vogt may have omitted it for length reasons. The movement is rather long by
oboe standards. Vogt later wrote two different cuts for this movement because of its
length. Sources 4 and 5 follow the same cut, which deletes slightly more of the
development than the cut found in Sources 6 through 9. Both versions cut part of the
development and all of the recapitulation. Another possibility for omitting theme 1 is
that the beginning of the development is similar to the opening of the piece; therefore,
Vogt may not have felt the need to restate theme 1 here.
Theme 2 is presented in a shortened version in the recapitulation, sixteen bars as
opposed to thirty-two in the exposition. The coda begins in m. 214 and is twenty-four
measures like the closing section of the recapitulation. The melodic material in the coda
closely follows that of the closing section. Vogt has reworked the material to fit in the
tonic key of F major and has shortened the oboe melody slightly. The last four measures
of the movement is a tutti section that provides a final return of the accompaniment motif.
The last four bars are similar to the opening four measures. They have only been
rewritten to accommodate the final perfect authentic cadence in F major for the end of the
movement.
23
Table 1: Movement I, Sonata-Allegro Form
Section
Exposition
Ritornello I
Episode I
Theme 1
Ritornello II
Transition
Episode II
Ritornello III
Episode III
Theme 2
Closing Section
Development
Ritornello IV
Episode IV
Ritornello V
Episode V
Retransition
Recapitulation
Theme 2
Coda
Ritornello VI
Measures
1–118
1–16
17–33
17–36
33–36
37– 61
37–55
55–61
62–118
62–94
94–118
118–197
118–133
134–151
151–154
155–234
155–197
198–237
198–214
214–237
234–237
Tonality
F major–C major
F major
F major
F major
F major
F major–C major
F major–C major
C minor–C major
C major
C major
C major
C major, E-flat major, D minor
C major
C major
C major
C major, E-flat major, D minor
C major, E-flat major, D minor
F major
F major
F major
F major
Although titled Rondo Pastorale or Rondo montagnard, the third movement is not
a rondo. The third movement is in sonata-allegro form because theme 1 does not return a
third time and because of the melodic parallels between transitions in the exposition and
recapitulation as well as the closing section and coda. Lehrer labels it as a rondo in his
dissertation but does not offer an analysis of this movement. It is possible that this
movement was titled rondo because the last movement of a concerto was expected to be a
rondo at that time. Themes 1 and 2 are also both rondo-like in character.
24
Theme 1 lasts from mm. 1–65 and is constructed in ternary form, aba1. The first
part of theme 1 clearly cadences in the dominant key of C major on the downbeat of m.
26. The next ten measures, b, serve as a transition back to F major for the return of the
opening theme, a1, which remains in F major. A1 juxtaposes the opening horn call with
the opening oboe melody. The orchestra reaffirms the key of F major before the oboe
enters to begin the transition to C major for theme 2.
Theme 2 is in two parts and begins in m. 91. The first part of theme 2 contains
two four-bar phrases and one seven-bar phrase. It ends in m. 118. The second part
begins with the same four-bar phrase as the first part; however, the second phrase is
extended to six measures and briefly tonicizes A-flat major before returning to C major.
Another four-bar phrase ends with a cadence in C major and elides with the beginning of
the closing section, which is in one part.
This movement does not contain a traditional development section in the sense
that it does not develop any themes. The melodic material of the development and
retransition are unrelated to anything previously heard in the piece. A dominant pedal
that sets up the return to F major is heard throughout much of these two sections. The
development cadences in C major in m. 148. The oboe entrance in the pickup to m. 151
begins the retransition back to F major for the recapitulation.
Unlike the first movement, the recapitulation of this movement begins with the
return of theme 1 in m. 164. Theme 1 returns in shortened form and ends in m. 200.
Instead of hearing the full ternary form of theme 1 from the exposition, only the a section
is heard; however, it was rewritten to end in F major rather than C major. The
retransition begins in D minor before modulating to B-flat major by m. 230. The
25
retransition is in six parts. Part 1 is a four-measure phrase that cadences in D minor in m.
204. The other parts contain six, eight, eight, four, eight, and four measures. The sixth
part of the retransition is a tutti section that cadences in B-flat major in m. 230 for the
beginning of theme 2.
The recapitulation of theme 2 is unusual because it begins in B-flat major, the
subdominant, instead of the tonic F major. An E-natural occurs on beat four of m. 231,
which suggests that theme 2 is beginning to modulate to the expected key of F major in
its first measure. As in the exposition, the recapitulation of theme 2 is in two parts. The
second part begins in m. 242 and tonicizes D-flat major, which carries the same major
third relationship to F major as C and A-flat major from the exposition. The end of
theme 2 elides with the beginning of the coda in m. 255.
The coda is in five parts. Part 1 modulates to F minor in m. 269. The second part
is a four-bar phrase in F minor. The melodic material comes from mm. 223–6. Part 3
modulates back to F major with a perfect authentic cadence in m. 283. The final two
parts reinforce the tonic key.
26
Table 2: Movement III, Sonata-Allegro Form
Section
Exposition
Measures
1–138
Theme 1
Transition
Theme 2
Closing Section
Development
Retransition
Recapitulation
Theme 1
1–65
66–90
91–118
119–138
138–164
150–164
164–297
164–200
Transition
Theme 2
Coda
201–230
231–254
255–297
Tonality
F major–C major
F major–C major–F
major
F major–C major
C major (A-flat major)
C major
C major–F major
C major–F major
F major
F major
D minor–B-flat major
(D-flat major)
B-flat major–F major
F major
According to Lehrer, Vogt’s style moves from the “Classical Style Type I to the
French Romantic Style” through the various versions of this piece. 37 These styles have
more to do with the movement structure of the piece than Vogt’s actual compositional
style. The Classical Style Type I refers to a concerto in three separate movements in the
typical fast—slow—fast order, 38 and the French Romantic Style refers to a concerto in
three fast—slow—fast movements in which all three movements are linked. 39 While this
is useful for differentiating between the various versions of the overall form of the piece,
these designations do not provide much insight into Vogt’s compositional style for the
piece.
37
Lehrer, 206.
Ibid., 22.
39
Ibid., 39.
38
27
Vogt’s compositional style in his 4ème Solo de Concert exhibits a couple of
unusual tendencies for the time period. The first is his odd treatment of form. The first
movement is a combination of ritornello and sonata-allegro form with the first theme
omitted from the recapitulation. It is unusual for the second movement to be throughcomposed. The third movement would normally be a rondo. It is in sonata-allegro form
instead, and the form does not contain a typical development section. The form of the
second movement of Source 1 is a combination of rondo and theme and variations with a
slow section in place of the expected return of the B section.
A second unusual tendency is his tonicization of distantly related keys in all three
movements. They tend to be related by thirds. While he does modulate to the more
typical closely related keys for the major formal sections, Vogt seems to use the distant
tonicizations to add variety and an unexpected element to longer sections. A
compositional technique that Vogt uses that is atypical of oboe writing is the use of large
leaps, which are found especially in the first movement. Another characteristic of Vogt’s
compositional style is his use of delayed phrase resolutions. He also often repeats one,
two, or four-measure passages.
Editorial Decisions
My first major decision was the title of the piece. The purpose of a concerto is
different from the purpose of a solo de concert. The concerto was a showpiece for a
master oboist, and the solo de concert was a teaching tool for students. The concerto
needs less detail for the master, who can create his own articulations, ornamentations and
28
dynamics while the solo de concert needs more detail for the student who is learning how
to do these things; therefore, the solo de concert provides more insight into the actual
performance practices of the time related to articulation, dynamics, and ornamentation.
The second major decision I had to make was on the issue of cuts. In his note for
Source 4, Auguste Bruyant states that he has cut parts of the finale because it is too long
and tiring (“trop fatiguant et un peu long”). He also makes reference to using an old
(“ancien”) finale, but it is not clear to what version he is referring. Because I wanted to
preserve what Vogt would have played, I decided to restore the cuts to the first and third
movements found in Sources 4–9. The first and third movements are in sonata-allegro
form, which means they both have an exposition, development, and recapitulation. The
first thing the cuts do in Sources 4–9 is turn the first movement, as well as the second
movement, into fragments, which is a Romantic ideal. Movements one and two end on
the dominant of the next movement, so the first movement ends on an F dominant
seventh chord and the second movement ends on a C dominant seventh chord. These
movements no longer have a clear ending on the tonic chord, and we can see the
transition from Classicism to Romanticism. In the first movement, the entire
recapitulation is cut. In the third movement, the transition, second theme, and closing
section from the exposition, the development, and the first theme from the recapitulation
are cut.
Third, I needed to create a piano reduction that corresponded to the complete
forms of the outer movements. In the margins of Source 4, Vogt mentions the piano
reduction, which suggests he intended for an oboe and piano version to exist in addition
to the orchestral version. Bruyant’s note on the cover of Source 4 also mentions a piano
29
reduction that he claims was approved by Vogt (“L’acct de Piano que j’ai tiré de la
partition a été approuvé par mon maître”). 40 I mostly used the reduction from Sources 6
and 8. I used the uncut orchestral score, Source 3, to make my own piano reduction for
the sections that were cut from Sources 6 and 8.
Finally, I made decisions regarding articulation, dynamics, and ornamentation.
The first thing to take into account when making individual editorial decisions is the
performance practice of the time; however, there is little information regarding specific
wind articulation and ornamentation issues. If the performance practice cannot be
determined, the next step is to find a majority in the nine sources. While a majority does
not necessarily make that version authoritative, it provides a starting point for
determining authority. A version appearing in a majority of sources is more likely to
signify authority than a deviant. While this is certainly not always the case, I used the
version of majority when resolving discrepancies containing two or more viable versions.
If there is no clear majority or the issue is determined to be open to interpretation
based on performance practice, the sources must then be prioritized. In general the
manuscript sources, 2–5, have been given a higher priority than the published sources, 1
and 6–9. Of the manuscript sources, Sources 2 and 3 are generally given priority over
Sources 4 and 5 because of the decision to present this piece in its uncut version;
however, Sources 4 and 5, and in some cases the published sources, are given precedence
if they contain a specific piece of information, such as dynamics, not found in the other
sources. Informed judgment based on performance parameters becomes a deciding factor
in the cases for which there is no clear solution.
40
Burgess, A Portrait of Gustave Vogt, 142.
30
Articulation in Vogt’s 4ème Solo de Concert
According to Barret, “articulation is to music what accent is to speech; it renders
the playing clear and intelligible, and it is by articulation that music is made to express
subject and passion, without which it can never be understood.” 41 In Classical and
Romantic Performance Practice: 1750–1900, Clive Brown restates Barret’s statement on
articulation. “The importance that composers attached to differentiated articulation, for
the intended expression of their ideas, is indicated by the early introduction and adoption
of slurs and, somewhat later, articulation marks in instrumental music, where they
supplied the function that was naturally provided by the words in vocal music.” 42
The Harvard Dictionary of Music defines articulation as “the characteristics of
attack and decay of single tones or groups of tones and the means by which these
characteristics are produced.” 43
The sound of the oboe is produced by the vibration of its double reed. This is
achieved by putting the reed in the mouth and blowing through it. The tongue acts as a
valve to start and stop the air flowing through the reed. When the tongue is placed on the
tip of the reed, it stops the reed’s vibration. When the tongue is removed from the reed, it
allows air to flow through the reed so that the reed may vibrate.
41
A. M. R. Barret, A Complete Method for the Oboe Comprising All the New Fingerings,
New Tables of Shakes, Scales, Exercises, and with an Explicit Method of Reed Making
(New York: Boosey and Hawkes, 1900), 5.
42
Clive Brown, Classical and Romantic Performing Practice: 1750–1900 (New York:
Oxford University Press, 1999), 168.
43
Don Michael Randel, The Harvard Dictionary of Music, 4th ed. (Cambridge, MA:
Belknap Press, 2003) 60.
31
There are three parts to the articulation of any note. The first part is the beginning
of the note as the tongue is removed from the reed. The second part is the end of the note
as the tongue is replaced on the tip of the reed. The third part is the space between the
end of the note and the beginning of the next note.
Treatises on woodwind playing from the Baroque era deal with articulation
syllables rather than articulation patterns. According to the French woodwind player
Jacques Hotteterre, different syllables were used “to make playing more pleasant, and to
avoid too much uniformity in tonguing . . . For example, two main tongue strokes are
used: tu and ru.” 44 The syllable tu would create a harder and more distinct beginning to
the note that would be used for playing a brilliant staccato passage. The syllable ru
would create a softer and less distinct beginning to the note that would be used in a slow
movement where a more legato sound is needed. According to Quantz, “the tongue is the
means by which we give animation to the execution of the notes upon the flute. It is
indispensable for musical articulation, and serves the same purpose as the bow-stroke
upon the violin.” 45 Quantz uses the syllables ti and di in place of Hotteterre’s tu and ru.
The French would have used Hotteterre’s syllables.
By Vogt’s time, the use of syllables to express the degrees of articulation had
fallen out of favor. In fact Vogt only used the syllable “tu;” however, he does note “that,
as each note must start softly, the tongue stroke has to be less forceful than when
beginning forte.” 46 In his method, Vogt explains that
44
Jacques-Martin Hotteterre, Principles of the Flute, Recorder, and Oboe, trans. Paul
Marshall Douglas (New York: Dover Publications, 1968), 36.
45
Johann Joachim Quantz, On Playing the Flute, 2nd ed., trans. Edward R. Reilly (New
York: Schirmer Books, 1985), 71.
46
Burgess, A Portrait of Gustave Vogt, 83.
32
there are only three types of articulation: 1) legato, 2) staccato or detached, and
3) detached with a slur above . . . The mixture of these three styles produces much
variety and can save a piece of music from monotony. For example, a passage
which is repeated several times can be articulated differently to give it a new
shape each time it is heard. 47
There are a number of repeated passages throughout Vogt’s 4ème Solo de Concert. Within
each individual source, the articulation is rarely changed on the repeat of a passage. Vogt
more often varies a repeated passage with different ornamentation or dynamics.
Unfortunately, Vogt’s method does not show how he would have mixed the three types
of articulation because the plate that would have shown these examples is not extant. 48
Music notation gradually became more specific as publication became more
efficient and demand among amateur musicians increased. Composers started including
more specific instructions that were geared to amateurs; professional musicians would
have known the conventions regarding things like articulation, while amateur musicians
may not have known these conventions. Still, “many composers and copyists were
evidently casual about indicating slurs in places where they felt them to be obvious; in
the case of very fast notes, especially, they seem often to have marked them only
haphazardly or omitted them altogether.” 49
In cases where passages were left unmarked, the performer still had the freedom
to tailor the music to his individual tastes. “In some cases it is clear that, according to
more or less well-understood conventions, unmarked notes were actually to be either
slurred or staccato at the will of the performer. In solo parts it was often taken for
47
Burgess, A Portrait of Gustave Vogt, 83–4.
Ibid., 177.
49
Brown, 179.
48
33
granted (especially in the eighteenth century and early nineteenth century) that the
performer should decide how the music was to be phrased and articulated.” 50 This is
seen in several passages, usually in transitions, in Sources 1 and 2. See the Critical Notes
section for a detailed discussion of the articulation issues throughout the piece.
Ornamentation in Vogt’s 4ème Solo de Concert
Before discussing ornamentation in Vogt’s 4ème Solo de Concert, background
information on terminology must be provided. According to Frederick Neumann, “in
music, as well as in the visual arts, an ornament is generally conceived as an addition to
structure, in the sense that structure embodies what is of the artistic or . . . of the
expressive essence. An ornament serves to set off the structural elements to greater
aesthetic advantage, most typically by imparting to them more grace, elegance,
smoothness, or greater variety.” 51 Notes that are part of the structure of a melody give
that melody its character, and notes that are not part of the melody’s structure serve to
clarify and enhance the character.
A melody’s underlying harmony serves as the primary guide to separate the
ornamental notes from the notes essential to the melody’s structure. “In practice,
however, the two elements will often combine into mixtures that defy separation, as is the
case when florid designs that could be pure decoration become, to varying degrees, part
50
Brown, 168.
Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music (Princeton:
Princeton University Press, 1983), 3.
51
34
of the expressive essence.” 52 Separating the chord tones from the non-chord tones then
becomes a starting point in determining how Vogt employs ornamentation.
While some ornaments involve arpeggiation and many include chord tones, the
structural notes are generally chord tones, and the ornamental notes are generally nonchord tones. The following are the basic types of melodic non-chord tones: passing
tones, neighbor tones, appoggiaturas, escape tones, suspensions, retardations, and
anticipations. A passing tone connects by step two different chord tones. The melodic
line of the two chord tones can either ascend or descend. A neighbor tone connects by
step two chord tones that are the same. Neighbor tones can either be above (upper
neighbor) or below (lower neighbor) the chord tone. An appoggiatura connects two
chord tones by leaving the first chord tone by leap and resolving to the second chord tone
by step. An escape tone connects two chord tones by leaving the first chord tone by step
and resolving to the second chord tone by leap.
Suspensions, retardations, and anticipations are closely related to the harmonic
changes underneath the melody. Suspensions and retardations are chord tones from the
previous harmony that are held into the new harmony in which they are now non-chord
tones. Suspensions resolve down by step, and retardations resolve up by step to a chord
tone in the new harmony. Anticipations, as the name implies, anticipate a change in
harmony by moving to a chord tone of the next chord prior to the harmonic change. The
note that is anticipated is often repeated to reinforce the occurring harmonic change. See
Appendix 2 for examples of these non-chord tones.
52
Neumann, 3.
35
Several questions on the ornamentation of a text arise. Did the practice of free
ornamentation continue through Vogt’s time? If so, how was the ornamentation
implemented? Did they use fixed ornaments, free ornaments, or a combination of both?
Where did the ornaments occur?
According to Brown, the practice of ornamentation continued throughout the
nineteenth-century. “In fact, during the first half of the period [from 1750 to 1900] the
embellishment and elaboration of all kinds of music by performers was endemic and, in
many respects, fundamental to the aesthetic experience of composer, performer, and
listener alike.” 53 The later manuscript sources are much more specific than the earlier
manuscripts in terms of articulation, dynamics, and the addition of both free and fixed
ornaments.
Some general tendencies Vogt shows in his ornamentation practice include the
following: Vogt often finds ways with his ornamentation to delay the arrival of chord
tones to weaker beats or a weaker part of the beat. Vogt uses various non chord tones,
fixed ornaments, and arpeggios to ornament his melodies. Vogt likes to use
chromaticism when approaching a chord tone from below. Chromaticism occurs less
frequently when approaching from above. See Appendixes 3 and 4 for a detailed
discussion of Vogt’s ornamentation of theme 1 from the third movement.
53
Brown, 415.
36
Conclusions
During the nineteenth-century, a wide variety of articulation patterns are found. 54
Vogt rarely employs the two legatos two staccatos articulation that is thought of as the
dominating articulation pattern of Classical era wind playing, which suggests that Vogt
was moving away from Classical conventions and toward defining a Romantic style of
wind articulation. Vogt’s articulations seem to follow the contour of the melodic line
rather than any set articulation patterns. As a very general guideline, Vogt slurs stepwise
motion and tongues leaps. The only pattern that recurs with some frequency in scalar
passages is the reverse slur, in which the second and fourth 16th notes are tongued and the
first and third 16th notes are slurred. See beats three and four of the first movement’s m.
27 for an example of this articulation.
Where does the performer have options in articulation? In sections of
passagework, long strings of 16th notes or triplets, Vogt often omits articulation markings
in the earlier versions of the work. Passagework sections are usually scalar or
arpeggiated figures idiomatic to the specific solo instrument, and they usually occur in
the transitions between themes. To a lesser extent, soloists have control over the
articulation of themes as well; however, any articulation changes must not destroy the
intended character of the passage.
For dynamics, Source 5 provides the most detail in the nuances of phrasing. As a
general rule, Vogt’s crescendos follow the line as it goes up, and his decrescendos follow
the line as it goes down. Although it is not always written in the oboe part, Vogt usually
54
Frederick Neumann, Performance Practices of the Seventeenth and Eighteenth
Centuries (New York: Schirmer Books, 1993), 248–9.
37
plays repeated figures with an echo effect. The first time the figure is heard it is played
forte, and then it is played piano on its immediate repeat.
The practice of free ornamentation is often viewed today as disappearing after the
Baroque era. However, a quote from Berlioz about the first oboist in Dresden suggests
that ornamentation practices continued at least through the early to middle part of the 19th
century. “The first oboe has a fine tone, but an old-fashioned style, and an irritating
mania for inserting trills and grace-notes which outraged my deepest convictions. He
indulged in some particularly disgusting embellishments at the beginning of the ‘Scène
aux champs.” Berlioz proceeded to say that the oboist promised not to do it again after
Berlioz chastised him about it in rehearsal. But at the concert he was back “to his old
tricks.” 55 Ensemble playing allows a performer much less freedom than solo playing
because everyone adding their own free ornaments would destroy the unity of the
ensemble. The freedom that the Dresden oboist applied to ensemble playing implies that
musicians still thought composition as a collaborative process between the composer and
the performer. If performers were taking liberties in a symphony, it is likely that they
would add even more ornamentation to a solo concerto such as Vogt’s 4ème Solo de
Concert.
The places where ornamentation may be added are in the opposite places of where
articulations may be changed. Themes, especially on a repeat, are the primary places to
add free ornaments. Other places are at cadences and phrase endings. To a lesser extent,
fixed ornaments can be added in sections of passagework. The passagework sections are
often complicated enough without the need to add even more notes. Seeing how Vogt
55
Burgess and Haynes, 132
38
would have ornamented, articulated, and incorporated dynamics into the later, more
detailed versions of his 4ème Solo de Concert provides the performer with a model of how
these practices can be applied to other solo pieces of the Classical and Romantic eras.
The quote, “No edition is definitive, and, perhaps more important, the truth is
simply not ascertainable,” 56 means that as performers, we need to evaluate the music we
play. As soloists we are not restricted by the black dots on the page, and we can make
historically informed choices to help us better express ourselves and the intent of the
composer.
56
James Grier, The Critical Editing of Music: History, Method, and Practice
(Cambridge: Cambridge University Press, 1996), 181–2.
39
4ème Solo de Concert
 
 
Allegro non troppo


Gustave Vogt




  
                         






 
 
 










f

                     

 
 
         
6
 



  
 
        

       

  

 

11


     






          

  






     

   

f

     



    





  
 
   




p












                        
   
             

 
p
16
 



     


  
 



 



                 
f
     
  


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mf
   
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40


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

     



    
2

                   

22
 
 
3
3
   
sfz
 
 
 
 
 
3
3
 
 

 

27
               





 
 
     
    
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  
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
3
p
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f
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   
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41


  
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      
  
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6
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f
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3
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3
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   
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3

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  
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3
 

35

      





 
 
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       
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
  
 

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 
 

   


    3
3

 
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
p


           
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
3
3
3
3
3

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    
3

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

3


3
3
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                
      
f
  
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


3
       
       

   
  
p
cresc...
      
 
43
  
f
39
                

6

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  
3


  
3

3

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3
3

  





3
3


 
6
47
                 
          

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  

6
3
3
3
p
  

 

6




pp


 

42



  




3
 
4
50




   3               



















 

 

3
3
3

 


6

 
    
 
54


   

57




 


   
 
  
 





  
   

       
       
f

  



















   
f
 


cresc...
               


  



  


 
  

p





          






                                                

61
 

 
   


Dolce

     

 
    


          
                  
     p
        





  
rall.

43
  

    


5
  

65
 

     

              


           


        
    

 





           


69
      
  

  
  




                                   
     
   
   

 



   


74




79
 



  







      





  
  
         

 
  

 
  



    
  



p


 
   
      
 
        
        
        
44


    

p



 
     



   
  



p
6
 
 
83
    







 
 


87

      



        

3
 

 

 
          
    




    
       












 
               
         


              
         
 




 


91
                          


cresc.
         
Tempo 1
f
Tempo 1
rall. un poco

 

                 
   

suivez









 


 



ff


     






95

                    
              










 

 

p
  
  
 
 
  
 





45
 



7
98
                     

   




    











p
   

  


  
  
 
 





  
 


101
   
     

    

























f






  
 


mf


  




104
   
     




 

       

  
       

[cresc...]







 
 

  
107
 








 

  

 




             

p


 

p




     
46

   


 
 

  
sfz
mf
 
  

   3
3


                         
  
  




 





     
       


8

 
 
111

      
   

 
  
      


115

 

123
 




 


  

   

3















  
  


 
[ff]
            
           
cresc.


  
  


   




   

                

     





ff


              
       

            
 
       
 
    

    
  

3






      

[cresc.]



    
3


      

     

   

  

3

  
119
   
       
   
 

 

       




  
     

               



47
9

 
127
 




      



  
 




 






  
   
137









   
   


      
    
   
pp

 
      

3


              
            
          
 

141



f
    




 
 
         
         
Maestoso


 
           

       
    
      
           
 


132

     

  
3
  
  
  
  
     
    


 

     
 
  


         
    
 
 
    
         
pp
        

  
pp

      

    
   

 



  
f


 
 
     
48
 
 
 

 
   
 


10

147






                  




  




















 

 
 

  
150

 



    f

cresc.
       
156
  



  
       




mf




 



    


  
  
 
  

   
  


      
  
 



  





  
 
f

   
  
 



6



 

   
    
 

pp

un poco rall.


  

162


       
  
   
  
  
       
                  
  
3
     
  
   
   
  
pp   
   


  



3


3
rall.

 
suivez

49









pp

            
  





  
 
 
11

        

167
  


   
3



    

3
                                   
     
     
     
     

  





 

171
  




  



3



 
 

 










  
  
  
   
 
 
     




 

mf


3
3
3
f



                   
    

  


 

         3                   
 
   

175

       

 


3
                      
           
  







3
3
3







3

179

    
   3                     3    3   




 

 
  
3
3
3
3
3
p
 


  




pp
3
3

3








50
3
3
3
3
3


 









12
183
  



  


 
  

 
 
                          



 

187
 

pp
       


 

    



 
 
 




   
 
pp

 

           
       
        

192
 

 

   
197
              
 3
3
3
3
[rall.]
[dim.]
  

 






    
   


    
   


    
   



  
  
  
                    








           
   
            




[cresc.]


                  
   
      




    

 
   

 

 
 
Dolce
                       
p


51

13
 
   
201



206
 




     

       



  

    

p
                        

   
       




 




  




























                
             

p
 




  




 
211
  
           
 





    


  
cresc.


    



  

Tempo 1
rall. un poco


        
  


suivez


f
Tempo 1
 



    



ff

215

                                             

  

p
 
  
  
 
 



  
 



52








14
218
                 
 


 















       

p
 

 



  
  
 
 



  


  
 



221



                                               




f
   


 







p

 



mf
  
            




            

  
224
 
 

  

 



  




 
 
[cresc...]


mf


p





[f]



 
  

 


 
     

 




228
                           






      
p
  















53





15
 

231


 
[f]



 
234
[ff]

  

 
ff




 
[cresc.]
  

 

  


             
    cresc.
       


 
 

               

  
 

 
 





  
   
   





54
   






 
 
 
 

   
   

Adagio

   


  
    

  
 
 
        
  





 p

   
     

ff
    

        



6

p amoroso
          
 
     
    



  
p
         
    

  

p
 
 
 


               





         



                       

 
    
      
  
 



  




 




A Tempo



           



      



3
poco rit.
    




suivez









 
pp


 






    
  
 
  


p

   
  
 
 
  




  
3


    
12


  
10
f


           











55
     



 

 


2



16
               


   

  



  
19

  
  

     



   
     

 
  


  
  

    
pp
 
   
  

 
 


 

        


 


                            

 
 

      
  


23


  


 
           



 
 
   
6
                 
  






          
  
  
 
     
 




3
[f]

    

27

  




 


 
 


 




 





      





    
    


 

   


56





 


 



 
       

             



   



 
3
      

          

  
       
   




 
  


6
31
 

6
       


  
    
  


34




 









       
       




   
3
6
pp


6
   
6
         






    












[f]


6
 
   

6
6






pp
    

  
                        












 
    

     
36
6

  

6
6






   





p

 





    



 
3
3
   3


       
  
3

   


3
3

6
6

      
38
6
6

    


     
 
6
 3
3
3
     

    
3
 


3
3
57
6
4
            

       











40
6
smorz

 



6
6
6

  
     

ritard


    

 
  

ff
58


  
 

  
 

Rondo Montagnard
   
Allegretto



 
  

p






                   



 

p
  



         



7
   

     
 
 
 


   




13




rit
  
  





 
  

  
  

p
              
 
  
           


 
  
     
19





 



 




  




 

pp
  
 
 

 
 
   


   
f



   
   


            



59

 
 




   
   

          
                 
 
  
   
        



                 

   
 



         


 
 

 




     




 
 



 



      

 


      
 



2
        


 

 

25


    
 









       
  
p
  
    



 
   


   


31


     













 
 
  
3
44


   



   


 
  
 


   



p


     
       

rit.
p
  Tempo 1
  
      

suivez
    
 p
     
   


 



                        


     
    
         
 


3
cresc...

60


 
 
 

  
 
 
  



3
cresc...
 

  
 

                  



3

3
    
           
 




       

   
   

 
38

p
f
 
  
p
  
  





  

Tempo 1
           
           
 
 







      
      





   
 



         


    


3

                  
             




 


   
50
f
     

 

 

 

p
       



54
      


     

 

     



  








  


     
f




  

60


     


 

 

p
     



[f]

p




     

 

     

         
     


            


[cresc.]

       
     
 
 
     


  


  
                              
  



 
    

 

            

   










 

         




 
66
     

 


       



 
 
pp
    
 
   
 


61
f [energico]
    


    

f

                    
   
  
pp
 




 


  







4

        








71





76

      

   

      


 

  
    

   





                          

  

 
 
 
 
 
 
      
 

  
 

  



 



  
                               
     

80

 
  
  



    



                                          

 

 
 
    

    


    
 
                

















    
   
      






















   
 

   
84

f 
     

62

pp

5
89


   

 

  
 
       


p
    
  
    
 

96

 










 
 
 

    

    
  
  
    





















 
 
 







 

 







        



 
   







109










 

 






 
 
 










 
 
 










 
 
 

  
 










 
 
 

          
  
  
   
 










   

63
 

 
 
 







   


    
 
  
  
     
  
     
         





   
      
  
       
  








   
         
           





 
 
 


                            

102
  









 
 
   

 
 
 











 


 

 







       



   
 





      
       


6
   



      
115
   

   
120



   



 
   
    
124

   
 
         

 


      

   



       
 
  f
  
 
 
       
  
f

 
p


       
 
       

    

 
 


 

 
    
 




          


 
 


 
   
p
 
 

p








 



 



 
p
 





 



    


   
 
   


[cresc...]

 

 
       
       





          
 

   


         
               

128
[p]

 
64
 
     
cresc.
7
132


 


 
[f]
   


    
[pp]
      
[cresc.]
            

      
 
 

            


137

f

pp
 

 
 
      

     
 
 
cresc.



 
      
      





   
   
        
          


ff
 
 
 
 
   























[ff]



143





  











                                        


     
  



 

   




 




 

 

 





149


p
          

  
         


     


   
 
pp

   



65


     

  



 
 
  

 


8
155




                                 







     

  



 
 
 
 
  









 
      







 

161
  

 

 

168





  



 
 

           
 


p
  



     

 
[f]
 


  

   
 
   





 

 
 


                
           

 





 

  

 
            





 
174
 
p

  
      
    














rit



pp
         



          



   
       



   
         
 
p
 
 

                  
 
         

     

66
 
   
   

9
181


 
  



 
            


       









                      
 
  

 
  



187
  




            




       
  

 
 
  
 
  
 

  

 

193



  
198


 
 
 
 
      
  

 


            


  

    
 
  
   












     


         
     


            





     
 


  








 


     
f




  


       
      
 

 

  

           

       
 
 




    
           
 



f energico



        
   



f

         
 

67
    

10
203


          
                      



 

dolce assai
        

  

209

  

 

   
 
 
   
   
 
    

f

     

   
pp
f
  

  
 
      
    
   




  

          

  


       

  

  

 



         
p


      
 
 
 
  
    
pp


  
 
       





















  
  
    



215
f
   

 
 




       
 





 


 


     
 

pp





                  

  








       




  

             







   

f
221
  
pp
pp


68
 




    

 

rall.

 


 
rall.

11
226
 
 
     

 
ff
230
 

   



  

   
 

    
 


   
 







    
   
p


    
   



    
        

            
 

             



 



       

mf
 



  





      
    
   



     


   


         

 

       
     
   
242







    
pp


       

 



p
      
236
    
    

   
  

      


 
 
 
 



   

   
    







          
   
    
          
          


69





 
 
 
 








  

 
 
  
  







  

          

 
 
 
  


12
        




248



       

  

254


  
    

    
 
258

 

p



                         

 

    







   


      
 f

 
 

 
     
  
262
  


 

 
 
 
  

 

   




        
   
    

   

  

      




 
f
   
 
p
 

      

 
 


   
 

 
         


             
     
  
            

         
  

sfz

 






 

 
      

          
          
                         



70
 
  
 

[p]



p
 

13
  
        
  











pp
266
         
      
      

pp
             


             

            
Tempo 1
                    

 
271
[un poco rall]
    
 
     

suivez


 
 

 

f
Tempo 1
280

  
3
  
 
          
   
f
    
             


f

             
  
 

 
3


 
 
 3    3 
  


  

 

        
          
 
    

 

 






 
276

 






 




 



 


 


  
 
              
       

f

  



  
    

71



 

     


ff





  


14
  


285

                                 




    



ff









                 

                  
 


290

 

p
[cresc]
     





     


     

     

p
  
     

f
[f]
         

 
 












    







 
          
  





        






ff
293


        
[cresc.]
  


 
  
 



[ff]

           
    
   




        
  

    





  
72
Oboe
4ème Solo de Concert

Allegro non troppo

 
20

25

f
  
f



3
    



 
3
3
3

  
Gustave Vogt
 
             


 



              

3
29

  

       


          






 
  
3
3
      





32
   






       
73
p

                 
      
  
    




         
6
3



2
Oboe
    


           















 
  
37
41

6




3
   

                    3 3
      
 
3
3
3
3
3
3
3
3
3
f
p

f
cresc...
         3               

  



45
3
3
3
3
3
3
3
p
6
   

            3      



  
  
6
3
3
3
3
3
3
3
51




     





  
 

  
          
48
6
56

65
    

6

               


cresc...
 
Dolce
                     



          



69
f

        
          


 
     
  

75

  
 

     

p
 


                         




83
3
74
Oboe
87


        
 





   





92


3
  
       


cresc.
          
Tempo 1


f
rall. un poco
                     

    

95
97


             











        
       
  
p
 













      
   



    
100




                     


f
p
104
      

 
   



         

  

[cresc...]
  
106











     
        
102
111

115


  





 
   
3
       
   
3
3

 

 

[cresc.]
75

      

 
  

  3

3
   






3
 


       



 
[ff]


V.S.
4
Oboe

119


Maestoso




      


f
         
    
 


      

  



 
3
3
141
     
    
   









  






137
pp
f







 
           








       
147
149

156

      
        

   
 
pp
un poco rall.
            

      

163
3
168


 





 


     
3
3
  







    
f
             


pp
                 



3
                     
 
   
3


6
3
3
173
f
rall.
  
      

3
177
3
3

 


  
    
3
   
3
    
3
76
3
    3        
 
3
p
3
3
3
180

  
    
3
3
3
Oboe
   
3

189

 


 

3
    
  









     
 


3
3
184
5
  
3
 
 
3

 
 

   
  
3
3
3

     

  
pp

                              
 



194
3
[cresc.]
             






198
Dolce
205
 
3


  

         
      


                  



 

211
cresc.
rall. un poco
3
3
[rall.]
[dim.]

 


  

Tempo 1
f
                  











 
215
217

 
        
  
            






          
p
    


                  



    

220
77
V.S.
6
Oboe

          
     





            
      
 
    

   
222
f
p
225
   


 
 

 



  
p
[f]
 



   






        
 
231

          

    



229
[cresc...]
[f]
[cresc.]
78
[ff]
Oboe
Adagio


  





  
     
p amoroso

  

  


















 

     

   
7
 


 
 
  
10
f

3
3
p
 










12
           


A Tempo


poco rit.
             

pp
                  
   



      


  
17
       


20
   
       




    
 
     
[f]

            


   

24
3


28

 


 






 
  
 
6
 
            

                      
      


      
 



31
6
6
6
79
6
V.S.
2


 
33
 

Oboe


[f]

  
36

6
      





 



















  

pp



6
3
6
6
              

6
6
  
        



   

















    
  

37
6


39
6
6
6
p
6



6







               
   









 

40
6
smorz
6
6
6
ritard
80
 

6


Oboe

  
Allegretto
   





8
14


 
Rondo Montagnard

 
  
             





p


                    




 

       
  
        
 

f

p
 
      
 
  
 






  
               

   




20

         


 
  

25
            







p
Tempo 1





 

   








 
 
 
33
f
39


p
rit.
 
 










       

 

3
p
         





   





3
                                     




44
3
3
3
cresc...

                                

  
50
p
f
81
V.S.
2
53

   
[cresc.]
67

 
 



Oboe
      

[f]

 

 



     
f [energico]
         
          


 
pp
 






   


  
71
         


   

75


                


      







    
   
 

              




       

 


        
84



         


    
   









   
     


88
 




           














80
p
 
     
















   

  
  
 

95
                 





101
 



   
    
         
   



 
  
   












108
82
Oboe

    
          




  


 
113
3
     
 









   


 
       
  
121
f
            

               



125
      












     
 
 
    

128
[p]
132

[cresc...]
     

[f]

137

 
 


   
      





      


    
[cresc.]
[pp]
  
 
      







 
[ff]
p





                                 

 
153
159

162
     
 

 



     

 
 
83

 
     

4
Oboe
 


  
167

p
                  





   


    

 









 
 

173
       

  
 
   
179
p
[f]


 



      
 
 

            
 
         
 




             

    









185

203

208

    
          
  

   


f energico
         
          















190

 
dolce assai

                   




 


f
 
  
      





















213
p
                  













 
 
218
f
pp
    
            






223
rall.
84

    

p
Oboe
 




231


 




     
     

 


       
    







    
 


  





     
     


       

   




     










250
257
 


      
      

237
244


5


      

 
      

f

 
            


        
       




       

            


260
                                     

264
[p]
   

        


 


  
pp
Tempo 1

272    
                    



267
[un poco rall]





 
276
f
         
           

 3     3
   
 

3
3
               

V.S.
85
6
Oboe
 





 
279
284
  


               



  
 
ff








    

ff
            



    

   
288
p
[cresc]
    








       
292
f
 
[cresc.]
86
  
[f]
[ff]
 


Comparison of Sources: Movement 1
Source 1
Source 2
Source 3
Source 4
Source 5
Source 6
Source 7
Source 8
Source 9

 
Allegro Maestoso
  
Allegro non troppo
  
Allegro non troppo
  
Allegro non troppo
  
Allegro non troppo
  
Allegro non troppo

 
Allegro non troppo
  
Allegro non troppo
  
Allegro non troppo

















       




               


   
 

   

    
f
 



  
    


              

f
 


    


              


  
 
    
f
 

  

f

 
    
f





 
f



  
p



   

  

   
f

 
 


    

    


    
    

                


f

f

f


                
f

f



               


                 
f


               


f



          

f

            


3
3
3

 

 
            


                   

3
3
3
3
3


3
mf
3

p

                   

3
3
3
3


 
            
 
3

3

 
        
3
3
 

3
3







3
3
 
        
3

3
 
            
3

 
3
p
 
 

mf
 
 
mf

11
1

2

3

4

5
6
7
8
9







3
                         
 

3
3
3
3

                          

3
3
3
 3
                          


3

  

  






  
       

     

3
3
3
3



  

 
   
 
        
    
                            

  













3
3
3
3
 
   

                         
 

      
    
 
  

    
  

    
 
      
  
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6
 
 
6

6


3
3
6
6

3
3

  
 
6

3
33
1
2

 
 
3
        
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
6
3
3
3
 
f

6
  
6

  
3
3
3

3
3
3
3

3
3
3

      3          
  
     
3
  3
  
3


  3
  

3
3
3
3


3
             3





 
  

3
3
3

3
p

3
 
       
 
  
 
3
3
3
6

3
  
        
  

  
3
3
3
6

 
 3










   








  
 
3
3

      3          
  
     
3
9
3
3
          3
   
          
   
3
8
3
        
 
   
3
7
3

   
 
     
3
6
3

   

     
3
5
3

   

     
3
4
3
3
3

    
      
   
     
3
3
3
          
6
 
f
  
f
  
f



 

 

 

 

 

cresc
 

 

 

 










 
 
 
 
cresc
 
 
 
 
 
 
 
 
 
 
 
 
 
 









 

 

 

 

 

 

 

 

 












 

 

f

    




 
 

   

   
   



 

    
 
 

 

  
 

  
 

  
 

  





   

   

   

   
      

pp
      

Dolce
      

      

Dolce
      

Dolce
Dolce
      

dolce a poco rallentando
      

p rallentando un poco
      

dolce a poco rallentando
      

p rallentando un poco

41
1

     



    



    



    









   

     




     




  
    




     



2

3

4

5


 
     



         

6
7
8
9

     










       

 



      


         

       

 


     

       
      


  
      

   


            
                     














     
          
 








          
          
      



                             



         

          



    

  
           

 


    
  

 


       
  

            
               












            
               











   
sfz
    



   
   



   


            
                     













89
sfz
   
4
50
1

2

3

4

5
6
7
8
9


 



 



 



 
           
 
            
 
 
  
 

 
 

 
 

 


 


 


 


 




3
  
3
 
               
        
  





     
       
    

    






      
     










    
      
  

   



   
      
  
 

 
         
       
 
 
         
       
 
 
      
  
         
 
      
  
         

      

  

p
  

     

p
  

      

p
  

      

p

60
1
2


     
      
  
  


 

  
 




   

 

     







   

 

      






  
3


4





                          
 


5


    
6
   

3
7


                        






                        




3
8
3
9

 
                       



3

   


   


     




                     




      
 





 
         
 





 
         
p


                        



   


       
 


 



      
 



      
 





 
         
 



      
 





 
       


sfz
sfz
cresc
cresc
90
5
69
1

2

3
4
5
6
7
6
7
       


       


f
 
 
    

   
                      

              
  







                                           

   
 
 
 

                                           



f
   


   
   
   



                                           




         
   









       
f
A Tempo
 
f
 
A Tempo

A Tempo
 
rall. un poco

        
rall. un poco
               


 
   
    
 
         
   
       
f
rall. un poco

       
  
 


                                           

rall. un poco

       
                  

                 
 

  
 


                                           
f
A Tempo

  
  


                                           
f

                


   

         
                               
 
 


                                                      







75
1
2
p
3
4
5
6
7
8
9











p

p

p

p
 

   
  
                                                      
  

  




p
f

                    
  
         
                              




f

                     
  
         
                              
 

f
p
f

                     
  
         
                              
 


f

                     
  
         
                            
  

  




                     
  
         
                              
 


f

                     
  
         
                              
 


91
6
80
1
2
3
4
5
                              
    



 
                   
p
     



   

                     

p

       

    


                    
    
     



 
   

       
    

  
    



 






  
    









 
    


 

      
      

    






















   
                     
  



p
7
8
cresc...
    
   
   



             
    






                      

 
 

cresc...
f
p
 

      
      

    






















   
                     
  


cresc...
p
9
f
f
 

   
      

   
    


















   
                     

  


p
cresc...
f


 
      

      

 
      

      

pp
 

       
     
      

    


        
     
                      

f
6










3


3


  
3




3
 
  

   3

 
3


 
   3

 
3
  
 



  



3

3
  
  








3
   
 
   3





  
  

  3





  



3
3

3
3
   
 
3


88
1

2

3

4

5

6
7
8
9





 


 
 





















 
 
 
 

  
 


 
    
    

  
             

3
3
3
3
  
       
      
           

3
3
  
  
3
 


  
       
             
           


3
3
3
3
  
       
              
          


3
 

  
3
  
3
3
3
3









 

 

 
  


 
 



 
 






  
      

       

      
           
 
3
3
3




        
     
       

 
            



3
3
3



  
     




     
3
3
3
3


 


 






 

 
 
 

 
 


 
 

 


 
 

3
      
       

       
           



3
3
3
      
     

             
 

 
3
92

 





 
 

 

 

  

 


















7
97
1
2
3
4
5
6
7
8
9












f

f




     
   
       

     

   


   

      

   




      
   



      
   

       
 
   
 
  
 

       
 
   
 
  
 
p


f maestoso
Marcato







        

        
f



        
f maestoso


Marcato
      

   

f


   
  

 
6
     


 
3

     
 

     


     

3



  


  


  

3
3
3
     
 
  
3
   
3
   
 
    
 
p
     

         
 
     
  

 
 
   
p
     
3
   
3
3
   
3
3
   
3
3
  


  


  


 
           


 


 
pp

 

 

 

 
3

3
        
   
 
6
3
3
 
   

           
   
   
   
   
   


   
   
 

pp

    

 
pp
   

    
pp
   
 

    
pp


106
1

2

3

4

5

6
7
8
9




 


   








                   

                   
         

          



        

          
     
 
          



         

  

            



        

          
     

         




 









 

 
          


 

 
         
 


 

 
        
 


 

 
         
 
 
        
 


 



  






f







  

            
 

          
     
  
          
     
 

  

            
pressez.
pressez.

        
pressez.

         
f
93
ff
  

        
f

  


f



     
pressez.
8

             


2

         

 
  
3

          

 
  
112
1
4
5
6
7
8
9
          

 












f





a piacere
  

  

f
          

 





f

 

 


    



 
  

 
    


pp


   

   
  


   

  



 
  

 
  

pp
un poco rall.


    


 

  
3
  
3

 
  


    
  
3
pp
        



pp
        

un poco rall.




6
  


 
  





6
a piacere
  


un poco rall.
f
         

  


    







pp
        
6



pp
un poco rall.
       
6





f

  
  
6
f




6


    

6



6
  
         

 


f
         

       
   

 
  








 
  


 

  
3
pp

123
1

2

3
4

 
          
      
7
8
9
3

3

pp

                    










   
 
           

   





           


3
 
3
3
3
3
3
3
ralent.
3

 
3
3
 



3
3
3
ralent.
3
3
3
piu adagio
rall.
          
      
3
3
3
rall.
          
      
3
3
3
rall.
        

       
3
3
3
rall.
           


             
 

    
 



3
           


3
         


3
       

        

       
3




3

3
3
piu adagio

 
               



 


3
            
 

    
 


          
      
3
3
3
pp
          








 
       
   

3
6

3
3
5
    



pp

pp

pp

3
3
            
 

   
 
 


3
            
 

    
 



3
3
           


3
         


             
 

   
 
 


3
pp
94
9
132
1
2

  
   
       
 

3
3
     
  

3
4

5

6

6
6
6



3
  
 

  
3

  

  
3
3
3
3
3
3
3
3
3
3
3
3
3
3
p
3
3
3
f
3
3
3
3
3
3
3
p
3
3
3
3
3
3
3
3
3
3
p
3
3
3
                     3                     3        
   

   
   
3
3
3
3
3
3
3
3
p
3
3
                       3                       3        
  
 
3
3
f
3
3
                     3           
   

   
3
3
f
3
3
                     3                     3         
 
    

  

3

  
3
f
f
3
3
                     3                    3        
 
    

   
f

      
     
3

  
   
 
 
       
 

    

                       3                      3        
  
 
3

      
    
3
       
3

      
     
3

3

 

      
     
3
 

3
3
3
3
    
3
3
3
   
3
3
p
p
    
3
3
3
3
    
3

3

140
1
 
    
                        
 

    
     3    3   
      
   

  

   

3
3
3
3
3
2
3
4
5
6
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3

3

   


   


   

  
   

 
 
      


   

  
   

 
 
      
 

 
3
    
    3   3   
      
   
       

  


    
3
3
   
3
3
3
    
3
3
3
3
3
3
3
3
3
 
      
            
3
3
3
3
3

3
3
3

            
3
3
3
3
3
3
3
3
3
3
3
3
3



 
 
      


f


  

3
3
pp
un poco ritard
 
 
       
      
 


f


  

p
f


3
  


  
   

f
95
un poco rall
 
 
       
      
 


p
3
3
  
      

       
  
3

p

      
             3    3   

  

   

3
9
3
        
  
   

 




3
8
3

3
7
3
3

      
             3    3   
  

   

3
3
3

 
pp
un poco ritard
 
      
 

p
un poco rall
10
150
1
2
3



4

5

6

7




 


   
 
 
3
  
        




pp


 
 

 
            

  
                          
 

3
3
   
 
   

                             
 

3
3
3
3
3
3
3
3
3
 
      

     
          
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3


          



           

3
3
3
3

 
           




          
3
9

    
pp
3
8

3
3
3
3


           




          
3
3
3
3


     
        

     

2
     



         

    

     



Dolce
3
4

5

6

7

8

9

Dolce
  
  
   

   
         

     
158
1
 
                   

                 



                 
 
96
  





  
 
  
 
11

170
1

2

3


 
 
   
      
 
      
 


     

  

                 
 
  


 
     
      

               

                 

 
  


 
                 

              


4

5

6

7

8

9


f
     



   
  

p

   
  

p


  
176
1
2
3
 
 

   
      


   
                                          




  

                                     
 
4

5

6
  

7

8

9

97



  
  

  

  

 



                            


     
    
                          

   
12
182
1

2

3

4

5

6

7






       
   




       
   










   

    
       
    

                 
     
    
  
                  
     
     
   
p

8

9












    

           


  
            
   
          
       









187
1
2
3
 
4

5

6
      
     

f

7

8

9

98







  
 


  
 

Adagio
Source 1
   
Comparison of Sources: Movement 2
  

  

 

 
 

 

  
   


   

  

   
6
Adagio
Source 2
Source 3
 
   

  

  
                  


6

    
                  



    
 


  
p


    

    



 


 



6



 
                                 
3

 
     
  
  
 





          
6
 

              


 




                


 



  
              

 


 

3

       

  

           

    
     

 
  
   
 


3

f 3
amoroso
 

  
 
      
              
                          
     

6
3
f
p
12

p
 


f 3
Adagio: Largo e amoroso
Source 9

    

amoroso
Adagio: Largo
Source 8

 
3
Adagio: Largo e amoroso
Source 7


p
Adagio: Largo
Source 6

 
p
Adagio Molto
Source 5

  
3
6
 

Adagio
Source 4
 
    


6
 
   
pp
Adagio
 

     
  
  


          
p

 

              


f
3

 
      
 

8
1
2

 

  
 

  

3
4
7

  
 
          
 
          










  

  

               
  

  

3
  

  
poco rit.



 
  
p


1st Tempo







pp


pp




  
     
 
 

 


           
   
    

           
   
    




   
pp
               
1st Tempo
3
 

  

               

 





  
      
 
 

                

 





          



                

  

   
 
          

    
                

  

   
 
          



                

  

   
 
           
    
3
                

        
   
 
pp
3
1st Tempo
poco rit.

3
                

poco rit.
  

pp
1st Tempo
poco rit.
9


3
p
8
  

 
           

3
6
 


   
       

3
5


pp
99
        

     

2
2
3
4
5
6
7
8
9

         
 



16
1
          

             



3
       






           




3
          
       

3

  


  

 
      








6

     



3
  


 
           
 
    


    

6
          

                  
  



                


  

               


  


      

                 
  






 
  
        
6
sfz
6
          
                 


  


    

    


3
p
  

             
              
  


  
3
p
3
p
sfz
 
 
 
 
 
 
sfz

          


  



 

  
          



 
           
  

3
 
    

 
    

sfz
6
               
p
 
p
6
               

          
                  


 



           
6

              
          


                 
  


  
 
    

           
6



26
1
2
3
4
5




 
 



                   
 
    
         
6
6



     
 


6
f
6
6
6
f
6
6
6

6
6




6

 
                          





6
 
 
                          



f
 

                  

          
        

 
6
6
6
6
100



f
6

6



    

                   
      
          
       
 





6
6
sfz


6
sfz
9


6
               

 
              
         
  

sfz


     


 
6


 
                          




3
6
6
6
6









       

      








3
6
6
6
6




          


      






  


6
   
       
           
       
              

      


 

8





6
                    6
     
 

        
 
        



6
6
   
6
       
            6
      
                

       



6
6
   
6
       
            6
       
                 

      



sfz
7



sfz
6




    



f
 

f
6
3
pp
6
3
p
6
pp
6
3
6
6
6
6
6
6
6


 
                          




3
6
6
6
 
 
                          



p

6
3
6
6


 
                          



6
pp
6
3
6
6
3
 

32
1
2


 


    



 

            
 
                
                




6
6
6
6
6
6
 
 

             
 
                 
           
  
6
3
6
   
   
 
                       
             












6
4
6
6
6
6
6
 
        
 


            
    
                


   


6
5
6
6
6
6
6
6
6
6
6
6
6
6
6
6
 
         
 


          
   
               

   



6
6
6
6
6
6
6
7
 
         
 


          
   
               


   


6
6
6
6
6
6
8
p
6
   


                       
    
   

      
   
     
6
6
6
6
6
6
6
9

   
 
                  
 
               
        


6
6
6
6
6
6
p
101
6


ad libitum
  

6


          
           

   
   
6
6
6
6
6
6


          
          

   

   
6
6
6
6

                           
          


  
   
6
6
6
6
6
rall
ritard
6

                           
           
  


   
6
6
6
smorz
6
6
6
6
pp


                         
          
  


   
6
6
6
ritard poco a poco
6
smorz
6
6
ritard


                         
          


  
   
6
6
6
6
smorz
6
6
ritard


                         
           


  
   
6
6
6
6
smorz
6
6
ritard

                         
          


  
   
6
6
6
6
smorz
6
6
ritard
Comparison of Sources: Movement 3

 
      
     
 


Rondo Pastorale: Allegretto
    


                   







  
 

Rondo Montagnard
                        





   

  

  
 
  
Rondo Pastorale: Allegretto
Source 2
Source 3
Source 4



 


 

p
  


 

 
  
Rondo Montagnard: Allegro
Source 6

Source 7
 
   
p
Rondo Montagnard: Final

p
  


 

 
   
Rondo Montagnard: Allegro
Source 8

Source 9
 
  
p
Rondo Montagnard: Final

  

3
pp
Rondo Montagnard: Allegretto
Source 5

  

p




          

3





 
 




 
 
             



3
                   



3
3


             


3

   
          

 3

   
        






3
             




   
 
pp
3
       


  

       
   
  
       
3

3

  

3


 

 

3

 

3


       

ff
 

10
2
3
4
5




   

   

    


   



 

 






 

 

                   





   
         
      





6

7

8

9





   

p
   

   

   

f


   

   


   


   



 

 

 

 










 


 

  



 

 

 

 
 
     


     


         















102
    

    

   
  
            


p
  


          


   
      


   
      


   
      


 

 






 

 
     









 

 

 

 














  

     




 

 

 

 

 

 












2
         



         



18
2
3
4
5
6
7
8
9










             
  
 



   
               





        
 
 
         
 
          
         

   

   
                          

   

   
                          
pp


f
            
         






            
         






     










         






            
         






  


  


  


  


  







 

   







   


 
 










   


             
             
             
             


                       

 

26
2
3

                       

 



    
pp


   
  


  


4

     


    
5

 
    
     

     


   

     
 
    

 
     
    

 
     

     
6
7
8
9
pp


p

p
p
p
p
103
    




    


f








            
 


            



 

       

    


 
        

    




f
f




f
f














3
35
2





p










 
 


 
 
3

4


    
   



 
5
6
7
8
9





    

ralent.
ritard






p

p
ritard




    



Tempo 1

    


p
ritard



Tempo 1


p rall
p
  

  

  

  

pp
 

 
          
 

 

 3
3
 

 


p
Tempo 1

    

  

 
 
        
  
 

 3
3
p



p


p rall

Tempo 1

    


 
 
     
 


 
 
   
     
 


                    


 3
3
                    


 3
3


          
  



 3
3
          
 

 

 3
3
  

  


 

 

  



  




             

 3
3

             

 3
3

sfz
             

 3
3

             

 3
3

sfz
             

 3
3

             

 3
3

sfz

43
2

3

4

5
6
7
8
9







       

       

 

 

    

  

    
  



       
                     
 





                           
 


       

 


    

 


      

 


    

 

3
p
3

sfz


sfz
 



    
  
 



    
   
  
    

     

3
    

     

3
    

     

3
    

     

3
sfz
 
       




 
           
3
3
3
3
f
           
           
cresc...
3
3
3
3
f
           
cresc...
104
 
 
       



  
sfz
 
 
 
 
4
49
2
3


4

5


    
 

             
    

      
      
   

    

            

   

        
        
  


     
    


    

 
 

     
    


    

 
 

ff
6
7
8




9




   
f

   
f
f
p

    
 
 
      
          

      
      
       
p
f
p
f

    


      
          

      
      
       

    
 
 
      
          

      
      
       
f
p
f
p
f

    


      
          

      
      
       
f


            


pp
        




 
 
57
2
3

4

5

6

7

8

9

pp


 



 
 
 

          
           
            
          
           
            
105
5
          

          

          

          

64
2
3
4

5

6

7

8

9


                    
 

                    















      
  
 
        
 
     



    

          
  
  
              




















   
   
   
     



              

          



 




















   
      
   
   



72
2
3
4

5

6

7

8

9

106


6

    







81
2
   
      
p
3
4

5

6

7

8

9


              

              
     
   
                       
     
   
                       
p

                 





   
            




92
2
3
4

5

6

7

8

9

 

     
 

     
107
       
                

       
                

7
2
3
    
                       


sfz
sfz
    
    
          









  


 


  
103
sfz
4

5

6

7

8

9

sfz


 
 
       
 
   
       
  

  

 
f

112
2
3

       
  
            

                       
 
            


               
          
          
             
     



       
4

5

6

7
 
  

8

9

108
8


      
          














119
2


       
         










3
4
5
           
             

       

      
                  
                  


6

7

8

9



  


 


 

 

127
2
3

4

5

6

7

8

9

 





  


                                    


  

p
 


p



         
                         

109
9
                
 


 
                 

 
  

           

 

   
                        



 
   

139
2
3

4

5

6

7

8


       

 

       

 

9

         




         



150
2
3
4

5

6

7

8

9


                  




   



      
          


110
 
             



  
    
                  

 


   
 

   
 
   
 
10
2




3




4

5

161
6
7
8
9
               

 
          

              


  





 
  
                    

          

   




 













  
          
     







          


  
  
f
Dolce assai

       
  





     














         



 
f
Dolce assai
  
          
    















          




ff
p
  
          


          







     
ff

  
          
     





















 
    

energico
p


 
          
     









           


  
 


f energico
p








         
     







          


  
  
energico
p



  





    
     













         



 


p
f energico
171
2
3
4
5
6
7
8
9
111
 
 
 
 
 
       

  
       

  
           


 

  

 
         



      

  
       


 
11
2
3
 


4
6


7
 
   


 


ralent.


    

       
    

       
  



 
                                 
ralent.
pp
3
pp
 
 
  



 

                        
 



                                        

f
9



f
 
3
 


 


 


 



p

p
         




                                 


8
 

                                   



5
 
   

179
f

p



                                        

f

p

188
2

3

4
5
6




                                                       



   

 
              
         

Tempo


 



                                                     



pp

Tempo 1
                                                












f
pp
rall
f
pp
rall
sfz
rall

7
pp
Tempo


 

                                                   





rall

8


 
         Tempo 1  

                    
                        





f
pp
rall
f
pp
rall
sfz
rall

9
112
pp
rall
12
197
2

3

4

5
6
7
8
9
  
  







 
      

pp
 
      

pp

        

p

        
p


     

       

  
   


     

       

  
   
               


    
               


p
p
    
p
      
      
      
      

            
   


208
2
3
4
5
            
   


            
  




            
6

7

8

9

      

p
      

 



      
 



      
 

     
       

       

       

 


 




                   
              

          

 
                        
 
p
p
pp
      




 










    

      
 

        

p

 

               
 
        
 

        

p
pp

 
           







    
      
 
 
        

p

 

               
 
        
 

        

p
p
pp
113






13
      
 
  
218
2
3
4
5
6
7
8
9


      
 


    
 




    
 



     
 


     


 
             

  



  
             



     
   


    
  
p
  






 




 
        


  
 
                    



pp
     
 
  

     
 


     
 



             




                            

             
pp

    
  
pp

    
  
     




             



 

        




  
p
   
   

             



pp

                


                




               





                




229
2
3
4
5

sfz
6
7
8
9
pp
               





              




               






             




       
 

         
 
  
                


                   




 

 

             
f
 

 

 


 








p
 

             
  
f
 

 

 

                
     
 
    

 
114
  




14
238
2

3

                
                   







               
                  




4
5
6

7

8

9

                 
 
                  


          

          
p

245
2

3

4
5

               


  





     
               
6

7

8

9

                       
 

 
  
 

                       
 

             
sfz
115
sfz
sfz
p
15


              
              













2a
 

2a
2

  
3


 
 
      
 
      
    
    
 
 
 
      
 
      



 

           


    
 
                    

  


 
    












                     

  
 
    

    



4
5
f

6
7

8

9

 
           
 
 
p
p

          
sfz
 
p
sfz
   
 
  
           
           

        
        



f



                
                
















f
           
           

 
        
        





f

 
f

257
2a
2
3
4
5


 
     
 

        
 




 

              


         
                           
                         

              
         
                         
       
     

         
                         


6

7

8

9

        
 
        
 
        
 
        
 
       

  
       
     

       
     

         
                         
                           
       
                           
       
116
16
263
2a

                       




  
   
                     
 


                      
 
 






2
3
4
5
6
7
8
9
  

  
 
 

 
  
 

 
  


                              




 
                    
      



pp
sfz
     
                     
                    
 







pp un poco rall
   









   
                 
                 




 

pp un poco rall


                        

                     




 



pp un poco rall
     

                      
                   
 




 

pp
pp un poco rall

  
 
271
2a

2

3

4
5
6
7
8
9


sfz

      

Tempo 1

     

f
Tempo 1

      

Tempo 1
f
     

                
 


          
                    
 


          
                    
 

 3     3

                                         


 
       
     

     



     

f
Tempo 1
3
3
3
3
 3     3

                                         


 
       

       




           
       

      
             
    




                   

               

      
   
 
    



sfz
     

ff
f
    


                                       


       



               

               
      
             


    







117
17
277
2a

2

3

4

5

6
7
8
9







 
 


  
         


 


  
         
3
     
    
   3
3
     
  
     
   3


   
 


   
 



         
 


          
 


  
         
 
   

 
             
 
  
 
 
  
         
 
   

 
             
 
  
 
 
 



3
 
    
  3
3
 
    
     
  3



 


     
  

 
 
 
 
 
   

                                
        
ff

                                
        
                                
         

                                
        

284
2

3

4

5
                        





                        








                                  
  

                                   
   

    
          
p
6
7
8
9
  




 




    
        





    
          
    
        




f




118
 
 
18
288
2

3



 

 

4


5


6

7

8

9





















   
         








     
ff
   
        









     
f
ff
119








 
 
 

 

Critical Notes
What follows is a measure-by-measure discussion of the editorial decisions for
the oboe part in Vogt’s 4ème Solo de Concert. Specific issues will be addressed within
this discussion. The blank measures within a source indicate that those measures do not
exist within that source. The measure numbers reflect the measure numbers in the
comparison scores. The full tuttis are not taken into account in the measure numbering of
the comparison score. The oboe’s lowest C, middle C, is referred to as C1.
Movement 1: Allegro non troppo
Sources 2–9 title this movement Allegro non troppo. Source 1, titled Allegro
Maestoso, is the only deviant. The title of the majority will be used.
Measure 2
An 8th note pickup as in all four manuscript sources, 2–5, will be used instead of
the 16th note pickup found in Sources 6–9. Source 1 does not include a pickup. Forte
will be used as the opening dynamic in the oboe part. Only Source 2 has a different
dynamic, piano. Playing theme 1 forte gives it a contrasting character to the dolce of
theme 2.
120
Measure 3
Source 1 provides a more florid ornament for this measure; however, the
conclusion of the Source 1’s ornament in m. 4 is awkward to play. All other sources are
in agreement for the ornamentation of this measure; therefore, the majority will be used.
The entire melodic gesture in beats three and four will be slurred as in the majority,
Sources 4–9.
Measure 4
Seven of the nine sources ornament the half-note A2 on beat three with a trill.
Only Sources 1 and 2 do not include the trill. Several questions about trills arise over the
course of the piece. Do trills begin on the main note or the upper auxiliary? According
to Clive Brown, “during the nineteenth century an increasing number of musicians,
including composers of importance such as Hummel and Spohr, stated that trills would
normally begin with the main note and that composers who required an alternative
beginning should indicate this.” 57 There are various trills throughout the piece that begin
on the upper auxiliary, which is indicated by an upper auxiliary grace-note directly
preceding the trilled note.
The trill in this measure may provide insight into Vogt’s expectations on
beginning trills. Brown later continues by quoting “another nineteenth-century musician,
the pianist Franklin Taylor, [who] noted in the first edition of Grove’s Dictionary that the
trill beginning on the main note was the ‘manner most shakes in modern music are
57
Brown, 409.
121
executed.’” 58 Taylor suggests looking at how a composer notates trills with a prefix
starting below the main note to determine how that composer begins trills without a
prefix. The main note of the trill in this measure is A2. Its prefix contains three notes
that are G-sharp, A, and B-flat. According to Taylor, having the upper note B-flat as part
of the prefix means that the composer generally begins trills on the main note unless
otherwise notated. A two-note prefix G-sharp and A would have suggested that the
composer generally begins a trill on the upper auxiliary because a repetition of the main
note would have broken the legato of the ornament.
Brown’s later comments turn this issue into somewhat of a moot point. He states
that “whatever may have been the views and practices of individual composers, it seems
certain that the majority of the performers employed trills beginning from the note above,
the main note, or the note below, as it suited their musical purpose.” 59 This statement
indicates that the performer holds the final authority on how to begin trills; however, this
edition will adhere as closely to Vogt’s intentions as possible.
Other questions involve the end of the trill. What was the performance practice
regarding the trill ending? Should a Nachschlag be included even where none is
indicated? According to Brown, “many musicians seem to have favoured the familiar
turned ending as a rule: Reichardt, for instance, remarked: ‘The trill often has a turn
[Nachschlag], which in orchestral parts is normally written out, but sometimes omitted.
In this case one should see that at least every trill on a long note has a turn.’” 60 Brown
points out that violinist “Joachim also firmly believed that in the vast majority of cases
58
Ibid., 496.
Brown, 409.
60
Ibid., 498.
59
122
trills should have a turn of some kind, whether it was indicated or not.” 61 In this
movement, the accompaniment has a reoccurring figure that includes a trill. In every
case, the standard turn Nachschlag is written out as two 16th notes. Because it seems that
the performance practice was to add the standard turn Nachschlag to the end of long-note
trills, they will be notated in the oboe part. I have elected to notate them as grace-notes
because they are consistently written as such when included in the oboe parts of the
sources.
Measure 5
Sources 4 and 5 use a different melodic line from the other sources. The majority
will be used. The articulation for this measure will be taken from Source 3. Slurring the
last three 8th notes helps carry the line into beat one of the next measure, which is the
musical goal of this phrase. The accents from Sources 1, 7, and 9 and the decrescendo
from Source 5 will be omitted because they would hinder the motion to the downbeat of
the next measure.
Measure 6
Sources 2, 3, and 6–9 agree on articulation, including the accents on the first 16th
note of beats one and two. The majority will be used.
61
Ibid., 498.
123
Measure 7
There is no need to add another forte in this measure as in Sources 3–9. It can be
inferred from the forte in m. 2. Aside from Sources 1 and 2, all of the sources slur the
interval from G2 to C1, which is a perfect 12th. This slur is doable and will be kept;
however, the slur may be omitted if the performer is having difficulty executing it. In his
method, Vogt imparts that “there are some intervals which are impossible to slur on the
oboe without risking accidents (see likewise Plate No…).” 62 Unfortunately, the plate is
no longer extant. Vogt continues on to present a method for tonguing these intervals
lightly to imitate legato for cantabile phrases. Measure 7 is not part of a cantabile
phrase, and the C1 can be tongued without destroying the character of the melody.
Measure 8
The accent on beat four is not in any of the manuscripts in Vogt’s hand and will
be omitted.
Measure 9
I do not agree with either decrescendo found in Sources 4 and 5. Similar to the
first four-bar phrase of the piece, this four-bar phrase points to beat one of m. 10, its
fourth measure. I prefer the articulation from Source 2, which will be used. The slur has
been moved from the B-flat triplet on beat three to the B-flat quarter-note on beat four.
The shift of the slur achieves the same articulation as Source 2 but is slightly easier to
62
Burgess, A Portrait of Gustave Vogt, 84.
124
read. All of the articulations found in this measure are viable as none of them will
destroy the character of the phrase.
Measure 10
The version from Sources 4 and 5 will be used for this measure. They are
possibly a written out version of the grace notes from Sources 6–9 and are in Vogt’s
hand. The piano on the 8th note pickup is also in Vogt’s hand. It gives the third phrase of
theme 1 a soft dynamic in contrast to the other three phrases.
Measure 11
In Sources 3 and 4, the same articulation is found in both the hands of Vogt and
Bruyant. The same articulation is also found in Sources 6–9; therefore, the majority will
be used.
Measure 12
The articulation from Source 3 will be used for this measure along with the turn
over the 8th note on the second half of beat two from Sources 7 and 9. The majority of
the sources do not slur from E2 to D2. The staccato articulation from Source 3 gives the
triplets a light and crisp feel and helps create contrast with the cantabile nature of theme
2. A trill on an 8th note at the tempo of this movement would be played as a turn, so the
turn symbol will be used.
125
Measure 14
The three-note Nachschlag comes from a manuscript source, Source 5, in Vogt’s
hand in addition to appearing in Sources 7 and 9; therefore, it will be kept. According to
Brown, “it seems unlikely that experienced executants would have been greatly inhibited
by the composer’s notation in varying the endings as they saw fit, nor that composers, at
least until the second half of the nineteenth century, would always have taken exception
to this practice.” This three-note Nachschlag is one example of how the ending of a trill
can be varied from the standard turn ending.
This measure also raises the question of whether the resolution of the trill should
be tongued or slurred. In several instances mostly in the manuscript sources, trills are
written followed by their Nachschläge as grace-note without any articulation indication.
See Source 5 in this measure. According to Neumann, “a one-note grace that precedes its
parent note will be called by the German generic term Vorschlag…a grace which follows
its parent will be called Nachschlag; one that connects two equal parent notes will be
called Zwischenschlag.” 63 The nature of the Nachschlag’s connection to the previous
note suggests that it should be slurred to the trill. The sources are inconsistent in the oboe
part about slurring the resolution. In all of the cases in the accompaniment where a slur is
followed by its Nachschläge written as 16th notes, the resolution is articulated; therefore,
the resolutions of slurs should be articulated unless otherwise noted. In this instance, the
majority of the sources slur this resolution. The resolution in this measure is also similar
to the one in m. 10, which was slurred; therefore, this resolution will be slurred.
63
Neumann, Ornamentation, 47.
126
Measure 15
The 16th notes in Sources 3–9 are written out versions of how the grace notes
from Sources 1 and 2 should be performed. They will be written out as in Sources 3–9 to
give the performer a clearer indication of how this ornament should be played. The
majority of the sources with 16th notes only slur the first two notes of the measure. Either
articulation will work, and doing one or the other would not have a significant musical or
technical impact. This edition will follow the majority, which is found in one of the
manuscript sources, Source 3.
Measure 16
The articulation from the majority, Sources 3 and 6–9, will be used in this
measure. The 16th note figure on beats three and four is the same one found on beats one
and two in m. 6. The same articulation from m. 6 will be used here.
Measure 17
This measure is only present in Sources 4 (crossed out) and 5 and will be omitted.
Measure 18
The melodic content of this measure will come from the majority, Sources 2, 3,
and 6–9. The articulation from Source 3 will be used. The accent on beat four in Source
2 brings up a couple of questions about accents. What effect did Vogt intend to achieve
with accent symbols, and did he intend the same effect every time the symbol is used?
The previous accents have been on notes that are tongued, which goes along with the
127
standard interpretation that an accent is played by giving the note a sharper than normal
attack. According to Brown, some composers indicated accents with the sforzando
symbol. The sforzando occurs rarely in any of the sources for the oboe part; however, it
does appear on occasion. It more commonly occurs in the accompaniment. That he
makes use of the sforzando suggests that Vogt views the accent and sforzando as
achieving two different effects, although it is possible that he used the two symbols
interchangeably.
Brown refers to two types of accent, agogic and percussive. The percussive
accent is the standard interpretation of a sharper attack. The agogic accent “’consists
partly in a certain emphatic lingering, whereby it appears as if one remains a moment
longer on such an accented note than its specific duration requires.’” 64 In this instance
both of the accents in Source 2 are more likely to be agogic accents than percussive
accents. The accent on beat four will be omitted because having two agogic accents in
this figure would disrupt the flow of the melodic line too much. It would be possible to
omit the accent on beat three instead, but it makes more musical sense to stress the
stronger metrical beat of the two, which is beat three.
Measure 19
The melody from Source 2 will be used for this measure. The ending in Source 1
feels too abrupt and significantly deviates from the other sources. The sextuplet in
Sources 3–9 is a flashier ornament of the 16th note line in Source 2. With the indicated
rhythms, Source 2 also does a better job of leading to the downbeat of m. 20, which is the
64
Brown, 50.
128
culmination of theme 1. The dotted 16th note within the sextuplet makes the rhythm
awkward to play as written; however, because this ornament appears seven of the nine
sources, it will be included in an ossia measure. The articulation in Source 2 is
ambiguous. The first two beats of this measure contain the same melodic material in
Sources 2–9. Vogt likely intends to have beats one and two slurred together because all
of these sources slur the two beats; therefore, they will be slurred.
Measure 21
The forte will be kept to create a dynamic contrast with the piano in m. 22. The
forte is found in three of the manuscript sources as well as Sources 6–9.
For some
reason, Vogt did not feel the need to mark the articulation for beats one and two in
Source 2. In a discussion on articulation in the 18th century, Brown states that “many
composers and copyists were evidently casual about indicating slurs in places where they
felt them to be obvious; in the case of very fast notes, especially, they seem often to have
marked them only very haphazardly or omitted them altogether.” 65 He continues to say
that “in the nineteenth century, while German composers generally became much more
meticulous in such matters, there were still some whose practice was casual enough to
provoke doubts about the literalness of their notation.” 66
While it is possible that the lack of articulation indicates that Vogt tongued all of
the notes, it is more likely that Vogt viewed the articulation of this passage as
unimportant to the overall effect of the music and could be executed at the whim of the
performer because all of the other sources contain specific articulations. There are a
65
66
Brown, 179.
Ibid., 182.
129
number of other places where Vogt does not provide a specific articulation. These places
are only found in Sources 1 and 2, the earliest versions of the piece. They generally
occur in sections of fast passagework in the transitions. In this case, the articulation in
Vogt’s hand from Sources 4 and 5 will be used.
Rhythmically, beat four should be a dotted 8th note followed by a 16th note.
Playing this figure with a 16th notes rest as in Sources 6–9 halts the direction of this
phrase from continuing to its target on the downbeat of the next measure. The C3 will be
used for this 16th note since seven of the sources use it against two sources that have a D3.
Measure 22
The accent on beat one in Source 5 shows the direction of this phrase. The
diminuendo to the resolution in Source 4 will help set up the piano on the second half of
beat three. Sources 4 and 5 could be indicating the same thing. In speaking of the accent
symbol, Brown states that “among the most difficult to determine is the extent to which,
in particular instances, it might be purely accentual…, where it denotes merely
diminuendo…, or where it signifies a combination of both these things.” 67
Measure 23
The sextuplet followed by four 16th notes in beats three and four of Sources 6–9 is
a more elegant version of the ornaments found in Sources 3–5. The 16th notes on beat
four are a compression of the 8th notes, including the attached grace note, found
beginning on the second half of beat three. The sextuplet is a written out version of the
67
Brown, 107.
130
turn. All of the articulations in Sources 4–9 are essentially the same because the G2 on
beat two must be rearticulated. There is no indication that it should be tied with the
previous G even though the slur encompasses the entire measure in Sources 4 and 5.
Measures 24–25
The resolution, F2 to E2 in beat one, will be slurred as in mm. 14 and 22. Unlike
Sources 3 and 6–9, none of Vogt’s manuscripts indicate a slur between these measures
from the G2 on beat four of m. 24 to the C3 on beat one of m. 25. Therefore, the slur will
not be used to follow Vogt’s manuscripts. The crescendo in Sources 5, 7, and 9 shows
the direction of this figure to the G-sharp on the downbeat of measure 26. This phrase
will eventually have to crescendo to reach the forte in m. 28. All of the sources except
for Source 1, which shows no articulation markings, indicate that the triplets on beats 3
and 4 of m. 25 are to be articulated using the articulated legato.
Measure 26
All sources except for Source 1, which contains no articulation markings in the
entire measure, agree on the articulation of beats 1 and 2. All but Source 2 articulate the
leap down a minor 6th from A2 to C-sharp2 on the first and second thirds of beat three.
The origin of the articulations in Sources 7 and 9 is unclear. The articulation from
Sources 3, 6, and 8 will be used. It goes with the majority of sources tonguing the leap
and closely follows Source 2. I agree with the crescendo at the end of the m.26 in Source
4 that leads to the forte in m. 28; however, it will be omitted in favor of a longer
crescendo, indicated by cresc…, beginning on beat three of m. 25.
131
Measure 27
By accenting the Gs on beats one and four in Sources 2 and 3, it seems Vogt is
trying to highlight the dominant to tonic harmonic movement from the G in this measure
to the C in the next measure. These accents also line up with the accompaniment figure.
This measure is in the middle of the transition section from F major to C major for theme
2. To clearly accent the G on beat four, it must be tongued. The articulation for the
triplets on beat four is ambiguous in Source 2; therefore, all three triplets will be slurred
together as in Sources 3, 6, and 8.
Measure 28
The accent from Source 3 on the third beat, C3, will be retained. It could be
played as an agogic accent. It should not be performed as a decrescendo because this
phrase should stay at loud volume to create dynamic contrast when it repeats at piano
beginning in m. 31. When performing this piece, I continue the crescendo past the forte
at the beginning of the bar up the C major arpeggio to the C3 on beat three. According to
the Barret method, “unless differently marked, it is a general rule that in ascending
passages we should increase the tone, and decrease it in descending passages.” 68 It
seems likely that Barret would have learned this rule from his teacher at the Paris
Conservatory, Vogt, and Vogt’s dynamic nuances usually follow this rule. My dynamic
interpretation will not be included in this edition because it does not follow any of the
sources and because it makes musical sense to put the forte at the beginning of the bar to
set up the repeated echo.
68
Barret, 7.
132
The articulation from Sources 2 and 3, tongue one and slur two, will be used for
both groups of triplets on beats one and two. This articulation helps highlight the root of
the arpeggio. I slur together both sets of triplets found on beats three and four as in
Sources 3, 4, 5, 6, and 8. The lack of articulation in Sources 1 and 2 indicates that the
articulation of beats three and four can be left to the discretion of the performer because
of the added articulation markings in the later versions.
Measure 29
The melodic material from Source 1 will not be used. Except for Source 1, the
rest of the sources contain the same melodic material. The articulation from the four
manuscript sources will be used. The manuscript sources articulate the E2 on the second
third of beat three, while Sources 6 through 9 slur from the second third of beat two to the
end of the bar.
Measure 30
Because the trill found in Sources 6–9 is included, the entire triplet comprising of
beat 1 should be slurred. This articulation, minus the trill, is also found in Bruyant’s
manuscript, Source 3. The rhythm or articulations on beat four found in Sources 3 and 6
through 9 will not be used. The articulation for beats two and three is unusual in that it
creates a hemiola. Since all of the sources except Source 1, which contains a different
melody, are consistent in creating a hemiola effect, this effect must have been Vogt’s
intention, and the articulation will be used.
133
Measure 31
The 8th notes on beat one in Sources 2–9 create a contrast to the long string of
triplets that began in m. 26. This bar begins what is essentially a repeat of the previous
four measures; therefore, the soft dynamic is one way to create contrast. The sextuplets,
a compressing of the C major arpeggio into one beat instead of two, found in Sources 4
through 9 provide rhythmic contrast for the repeated material. Short repeated figures
such as mm. 27–31 are found throughout this piece. One of its challenges is to play the
repeat of these figures in enough of a different and interesting way to keep the listener’s
attention. On beat two, the 8th note followed by an 8th rest from Source 5 will be used
instead of the quarter note found in the other sources. This 8th rest gives the performer a
chance to breath before playing the next phrase. The piano from Source 3 and 6–9 will
be used instead of the pianissimo in Sources 4 and 5.
Measure 32
This measure is a repeat of m. 28. Sources 1 through 3 keep the triplet figure, and
the remaining sources change the two-beat rhythm into a quarter note followed by a
sextuplet arpeggio with the quarter note tied to the first note in the group of sextuplets.
Measure 33
The later versions are consistent melodically. Source 1 is the only deviant and
will not be used. The four manuscripts agree that the F2 on the downbeat of the measure
should be tongued. Melodically, this measure is the same as m. 29. For triplets on beats
three and four, five of the sources, numbers 2 and 6 through 9, have different articulations
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in this repeated measure; however, three of the four manuscript sources do not have
different articulations. In light of Vogt’s comments on varying articulations in a repeat, a
different articulation, found in Source 2, will be used for this measure.
Measure 34
Measure 34 matches m. 30. The only difference between the two measures
occurs on beat four. Each source consistently uses the same articulation and rhythm in
both measures; therefore, this edition will be consistent, too. See m. 30.
Measure 35
The articulation and breathing for this measure are the same as for m. 31. I
disagree with the crescendos found in Sources 6 through 9. These crescendos are not
found in any of the manuscript sources, which brings their validity into some question. It
is more effective musically to save the crescendo until a couple of measures later. The
sextuplet figure in beat four is descending, so any crescendo here goes against the general
dynamic rule.
Measures 36– 37
The accents on the C3s are unnecessary. These notes are going to stick out
without accents because they are in a higher register than the lower part of the melody.
All of the sources agree on slurring together each pair of low notes that follows a C3. I
prefer to begin the crescendo in m. 37 so I do not become too loud too soon; however, m.
36 should build in intensity if not volume. Is this what Vogt was trying to indicate in
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Source 5 by writing cresc in m. 36 and indicating a crescendo with the symbol lines in m.
37?
Measure 38–39
I prefer to arrive at forte in this measure. The diminished harmony (the actual
harmony is an A-flat German augmented sixth chord) outlined in the melody is
unexpected here. The tutti that follows is in C minor instead of the expected C major.
Source 1 and all of the manuscript sources place the trill and its resolution one octave
higher (F-sharp2 and G2 versus F-sharp1 and G1) than the editions by Richault and
Costallat. There is nothing in known existence written in the hand of either Vogt or
Bruyant that indicates these two notes and their ornaments should be played down an
octave. By writing them up an octave, the oboe stays above the tessitura of the
accompaniment (both piano and orchestral); therefore they will remain in the register of
the manuscript sources. The F-sharp will be slurred into from the F-natural in the
previous measure to continue the idea of slurring the two lower notes together found in
mm. 36 and 37. The melodic figure in Sources 4 and 5 outlines more of the harmony
than the figures found in the other sources. It also has a more interesting melodic shape
and will be used.
Measure 40
All of the sources except for Source 1 are consistent in slurring the entire
measure. It is not clear what Vogt means by rallentando un poco in Sources 6–9. This
measure, the beginning of theme 2, is not a place that a performer would normally
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rallentando. There is no rallentando indication in the manuscript sources or Source 1.
Perhaps these instructions where meant to tell the performer to play this phrase with
rubato or to play it a bit slower than the previous material. Dolce, sweet, will be the only
instruction used. It implies piano and gives more indication as to what Vogt expected for
the character of this phrase.
Measure 41
The 16th notes found in Sources 6–9 are a written out version grace-note
ornaments found in Sources 2–5. Without the ornaments this measure would be the same
melodically as the previous measure. The crescendo found in Sources 1 and 5 will be
omitted. This phrase should not remain static; however, if I were to include this
crescendo, I would also want to include a decrescendo on the first two beats of the
measure. The same dynamics would also be added to the previous and next measures;
however, these dynamic markings would have no concrete basis within the texts and will
be omitted. Like in the previous measure, this measure will be slurred as eight of the
nine sources indicate.
Measure 42
The 16th notes are again a written out version of the grace-notes. Again, eight of
the nine sources indicate that this entire measure is to be slurred. The majority will be
used. I do not agree with the diminuendo in Source 5. This phrase is moving toward the
downbeat of the next measure, so this diminuendo will be omitted.
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Measure 43
This measure will be written out as a quarter-note C-sharp slurred to a quarternote D followed by a half rest. This is the rhythm indicated by the half-note and its
grace-note in Sources 2–5. Sources 6–9 contain a half-note C-sharp with an accent
resolving to a quarter-note D. Shortening the appoggiatura allows for a longer rest and
more time to breathe. The accent over the C-sharp shows the direction of the phrase;
however, it will be omitted because there is no accent in any source in m. 47, which
contains a similar resolution. All similar measures will be notated in this manner.
Measure 45
Slurring the whole measure as in Sources 2 and 3 or tonguing the C on the second
16th note of beat two as in all other sources will not significantly effect the character of
the phrase; however, slurring the entire measure would fit a bit better with the dolce
character of theme 2. There is no reason to set the C apart from the other notes by
articulating it. The trill on the third 16th note of beat three adds an extra ornament to the
line and will be kept. I like the crescendo in Sources 6 and 8. It starts as the line begins
its ascent and continues to the peak of that ascent in the next measure. The crescendo in
Sources 7 and 9 begins before the phrase begins to ascend.
Measure 46
Sources 2 and 3 are essentially the same. Source 2 has a half-note on beats two
and three while Source 3 has a quarter-note on beat two tied to a quarter-note on beat
three. The syncopation and accents found in Sources 4 and 5 do not fit the dolce
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character of this theme. The half-note from Source 2 will be used. All of the sources
except Source 2 have a D-sharp on the last 16th note of beat four. Source 2 has a Dnatural. The D-natural is a chord tone in the G7 harmony underneath the oboe. The Dsharp anticipates the chromatic lower neighbor that delays the resolution to E-natural, the
third of C major, in the next measure. The D-sharp will be used because the majority of
the sources agree and because Vogt wrote it in himself in his later manuscript versions.
Measure 47
The quarter-notes on beats one and two in Sources 6–9 are a written out version
of the half-note and its grace-note in Sources 2–5. The quarter-notes will be used in this
measure for consistency with similar measures. The majority of the sources slur to the
downbeat of the next measure. The majority will be used. The C-sharp on the second
half of beat three is only found in Source 1. The rest have a C-natural, which will be
used.
Measures 48–49
The majority of the sources slur through the downbeat of m. 48. I do not like the
ornamentation found in Sources 4 and 5 because the C3 tied through the downbeat of m.
49 sounds awkward and out of place. The later editions by Richault and Costallat return
to the original melody found in the first three sources. The accent on beat two found in
Sources 6–9 are out of character unless they are applied with extreme care and taste. The
simplest form of this melody will be used here since this is the first time it is heard. The
quarter-note on beat two will be slurred to the quarter-note on beat three in m. 48 to
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enhance the cantabile quality of this phrase. The sforzando on the E-flat on the downbeat
of m. 49 found Sources 6 and 8 and accent found on the same E-flat in Sources 7 and 9
are also out of character. These markings are not found in the manuscript sources.
Spelling this note as E-flat rather than the D-sharp found in Source 1 fits the A halfdiminished harmony.
Measure 50
The ornamentation in Source 5 is rhythmically awkward. This measure is the
same melodically as m. 48 except it is transposed up a third. Because it is not an exact
repeat of m. 48 and I do not like the melodic ornamentation in Sources 4 and 5 or the
rhythmic ornamentation in Sources 6–9, the simplest form of this melody will be
retained. See the comments on m. 48 for the articulation of this measure.
Measures 51–52
I do not like slurring over the entirety of these two measures if a breath is needed
in the heat of performance between the dotted half-note F2 and quarter-note E2 in m. 52.
The breath causes the quarter-note to act as a pickup to m. 53. If this phrase can be
played to its conclusion in m. 55, I prefer to slur the E2 on beat four. The diminuendo in
m. 52 found in Sources 4, 7, and 9 helps make the breath sound more natural within the
phrase. The crescendo in m. 51 gives the whole-note direction. The later manuscript
sources and the Richault and Costallat editions all have the F-sharp in m. 51 slurred to the
F-natural in m. 52. The majority will be followed. The melodic ornament, descending
triplets, in Source 1 is interestingly placed here. When these two measures return on the
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repeat of the second theme in mm. 64 and 65, Source 1 is the only version that is
unornamented.
Measures 53–54
These measures in Source 1 are different melodically from the remainder of the
sources because their function is slightly different. Source 1 sets up the repeat of theme 2
one measure earlier than the other sources, and it puts the repeat in the oboe part rather
than in the accompaniment. Source 1 will not be used because the other sources agree
melodically and there is no accompaniment in existence for it. The crescendo in m. 53 of
Sources 4 and 6–9 follows the ascending line, and the decrescendo in m. 54 of Sources 6–
9 follows the descending line. These dynamics will be used. Tonguing the D3 on the
downbeat of m. 54 helps highlight that note as the apex of this phrase. The majority of
the sources slur each measure in its entirety.
Measures 55–58
Sources 2–9 agree on m. 55. Source 1 has the oboe repeating theme 2, and the
remainder of the sources repeat theme 2 in the accompaniment to give the oboist a rare
and valuable chance to rest.
Measure 59
This measure begins the second phrase of theme 2. The manuscript sources have
the accompaniment play the first two phrases of theme 2, and the Richault and Costallat
editions have the oboe reentering on the second phrase. In this edition, the oboe will
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reenter on the second phrase of theme 2. The piano reduction is already available, and I
prefer the ornamentation of the Richault and Costallat editions. To be consistent with m.
44, this entire measure will be slurred.
Measures 60–62
The ornamentation for these two measures is similar to a sketch found in the
margins of Source 2. Even though Source 2 has the oboe resting during these measures, I
have included the sketch in the Source 2 staff. These measures correspond to mm. 45–7.
The sketch shares more melodic similarities with mm. 60–2 than with mm. 45–7. There
is no accent on beat one of m. 47; therefore, there should be no accent here. The melody
found in Sources 6–9 is more interesting than the sketch in Source 2. It feels natural to
slur through the downbeat of m. 61 as in Sources 7, 9, and the Source 2 sketch. In m. 60,
the dynamics in Sources 6 and 8 do not match the dynamics in Sources 7 and 9. They
will be omitted.
Measures 63–5
See mm. 48–50. The ornamentation in Sources 4 and 5 is slightly different in
mm. 63 and 65 than the ornaments in mm. 48 and 50. Measures 49 and 64 both contain
the same ornamentation.
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Measures 66–67
These measures correspond to mm. 51–2 with the addition of trills to the two
whole-notes. Sources 6–9 add a three-note Nachschlag, which will be used in this edition
as an example of how Vogt might have ended his trills.
Measures 68–69
Measure 69 can be played either with or without the rall. un poco. I do not agree
with any of the diminuendos in these measures. These measures are moving toward the
end of the second theme and the beginning of the closing section in m. 70. In all
versions, the closing section begins with a dynamic of at least forte; therefore, it makes
sense to crescendo through these two measures as in Sources 7 and 9. I prefer the
ornamentation from Sources 6–9, which will be used.
Measure 70
Sources 1–3 do not have a measure of rest; however, space is needed here for the
oboist to breathe. This is the first instance where the heavier wood of the new keyed
oboes comes into play. The next section would be almost impossible to play on a modern
oboe without the inserted measure of rest unless it is circular breathed. The measure of
rest will be kept to allow for an easier performance of the next section. Although the A
Tempo probably belongs with the accompaniment figure in m. 70 as in Sources 6 and 8, it
will be placed on the oboe entrance in the next measure to give the soloist a little extra
recovery space. The majority of the sources have a quarter-note on beat one instead of a
half-note. The majority will be used to again provide the oboist with extra rest.
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Measure 71
For the next section, Source 1 differs from the others melodically. Because no
accompaniment exists for Source 1, it will not be used. Except for Source 2, which
contains no articulation markings, all of the remaining sources agree that the 16th notes in
this measure should all be slurred. The majority will be followed.
Measure 72
I prefer the articulation in Sources 2, 3, 6, and 8. The accents from the manuscript
sources, 2 and 3, will be kept. The multitude of accents in Sources 6–9 seem overdone
and will not be used. The accented notes in these sources will be clearly audible because
they will be tongued. The diminuendos in Source 5 make no sense. This four-bar phrase
should be played forte to contrast with its repeat at piano beginning in m. 75.
Measure 73
Some of the slurs in the manuscript sources are ambiguous throughout this
section. I prefer the articulation in Sources 7 and 9. It feels natural to slur through the
stepwise motion to the 16th note D2 on the third beat and tongue next 16th note, which is a
leap down to A1. Sources 2 and 5 may agree with this interpretation because it cannot be
determined where the slurs end. The crescendo in Source 5 will be omitted. Its
placement is odd because it is over a descending melodic gesture, and it is unnecessary
because the decrescendos in the previous measure have been omitted.
I have always played the C2 that is the second 16th note of beat four as a Cnatural. Dmin7 is the harmony for this entire measure. The C-sharp earlier in the
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measure is a chromatic lower neighbor. As a C-sharp in beat four, it would become a
double passing tone that is chromatic. C-natural would be a chord tone. Although the
melody is different in Source 1, the C-sharp becomes a C-natural on beat four when it is
part of a scalar passage.
Measure 74
This measure is similar to m. 71. I prefer the all slurred versions in Sources 4, 5,
7, and 9. It is possible to tongue the G1 on beat three as in Sources 3, 6, and 8. Whether
the whole measure is slurred or beat three is tongued will not make a significant impact
on this phrase. I do not agree with the accent on beat one in Sources 6–9; however, it
might make more sense if the accent symbol indicated an agogic accent.
Measure 75
The piano should be on beat 2. Source 3 has it crossed out over beat one and
rewritten over beat 2. Beat one is the conclusion of the previous phrase, and beat two
begins its repeat at a soft dynamic. The articulation in Sources 3 and 6–9 will be used.
This measure corresponds to m. 71, and the articulation used will provide variety on the
repeat.
Measure 76
See m. 72
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Measure 77
See m. 73.
Measure 78
The majority of the sources tongue the G1 on beat three. The staccato markings at
the end of the bar give this measure variety as it corresponds to m. 74. The crescendo
should begin as the music ascends and continue to the forte downbeat of the next measure
as in Source 5.
Measures 79–80
The articulation in Source 3 highlights the dual voices in this measure. I prefer
the added trill in Sources 3–5, 7, and 9; however, adding the trill can make the
articulation from Source 3 awkward. Even though it is not indicated in any of the
sources, this edition will tongue the A on beat two of both measures and slur this group of
four 16th notes. This is similar to the other articulations, and there are no articulation
markings in Source 2, which suggests that the articulation for these measures is at the
performer’s discretion. The forte in m. 79 is omitted in Sources 7 and 9. This measure
should be played forte because of the piano when this measure repeats in m. 80.
Measures 81–3
The first two beats of m. 81 contain the same melodic figure as the first two beats
of mm. 79 and 80; therefore, they will be articulated the same way. The dynamics in
Source 5, decresendoing to forte in m. 82, make no sense and will be omitted. The
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majority of the sources agree on the articulation, two slurred and the rest of the notes
staccato, in m. 82. The majority will be followed. Unlike Sources 5–9, I do not begin the
crescendo until the melodic line begins its ascent in m. 82. Because I have moved the
crescendo slightly, it will be placed in parentheses. I do not play the F-sharp 8th note on
the downbeat of m. 83. This note seems to be more a part of the accompaniment than the
oboe line that follows, and not playing it allows the performer more space to breathe. All
of the sources except Source 1, which contains a different melody, agree on the
articulation of m. 83.
Measures 84–85
Slurring down from E-flat3 to F-sharp1 does not make much technical sense. In
his method, Vogt mentions that there are intervals that cannot be smoothly slurred.
Unfortunately, the plate showing these intervals is not extant. The articulation, tonguing
the F-sharp and slurring up the to the D3, in Sources 4 and 5 makes more sense because it
is easier to slur up a large interval than down on the oboe. A trill is added to the F-sharp
in Sources 3–9. It is possible that Vogt would have played the grace-notes preceding the
trill in m. 85 as in Sources 6–9. Since the manuscript sources were for his own use, he
may not have felt the need to include every small detail of what he would have played.
The standard Nachschlag has been added to this trill’s resolution into m. 86.
Measures 86–9
I usually take a breath between beats two and three in m. 86. Seven of the nine
sources have the same articulation for the 8th note triplets on beats three and four. The
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first two triplets are slurred together, and the last four are played staccato. Source 1 has
each group of triplets slurred together. Source 2 contains no articulation markings. This
suggests that Vogt either did not need to write them down or that the articulation for these
triplets was up to the whim of the performer. I prefer the articulation in Sources 2 and 4
for mm. 87–9. I agree with the manuscript sources in m. 87. The C-sharp1 should be
tongued to allow it speak more easily. It is then slurred to the D1 on the downbeat of m.
88. I inhale between beats two and three of m. 88. Because I breathe here, the slur
between the D1 and A2 in Sources 1, 3, and 6–9 is not possible. I prefer tonguing the Fsharp on the downbeat of m. 90 to allow it to speak more easily. As in three of the four
manuscript sources, I tongue the E-flat3 on beat three. The trill on the E-flat found in
Sources 4–9 will be used.
Measure 90
All of the sources agree except for Source 1, which contains a different melody.
Sources 2–9 are an ornamentation of Source 1’s melody.
Measure 91
This measure does not exist in Source 1. The accent on the second half of beat
one in Sources 6 and 8 is not needed because it will be tongued. The majority of the
sources slur the entire measure from that note until the downbeat of m. 92. Source 3 also
tongues the first 16th note of beat two. Source 2 does not include any articulation for this
measure aside from slurring to the downbeat from the previous measure’s triplet figure.
The articulation from the majority will be followed.
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Measure 92
I prefer the version in Sources 6–9. It is a more complicated ornamentation of the
version in Sources 4 and 5.
Measure 93–5
Six of the nine sources, including two of the manuscript sources, begin the trill in
m. 93 on the upper auxiliary. The first grace-note in the run should be a C-sharp as in
Sources 6–9. C-sharp acts as a chromatic lower neighbor to D and does not give away
the resolution to C in m. 95. The majority of the sources write the Nachschlag in m. 94
as two 8th notes. The 8th notes are a written out version of the grace-notes in Source 2
and will be used. The dynamics from the accompaniment will be added in brackets.
Measure 97
Source 1 uses a different melody from the rest of the sources for most of the next
section. Source 1 will not be used since it is the lone major deviant and its
accompaniment is not extant. All sources but the first agree that the two half-notes
should be slurred. Forte makes the most sense dynamically. All of the accompaniments
end the previous tutti at forte. The accompaniment then rests during this measure.
This section is very similar to theme 1, which was also forte. Source 5 is the only
source marked piano. Sources 1 and 2 have no dynamic markings. The maestoso in
Sources 6 and 8 makes more sense than the marcato in Sources 7 and 9 because the
multiple slurs within this phrase to not lend themselves to marcato. The slurs do not
necessarily lend themselves to maestoso; however, this phrase can still be played
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majestically. I agree with the crescendo toward C3 in the next measure found in Source
5.
Measure 98
The sources disagree on the articulation of the 16th notes on beats three and four.
Only Sources 1 and 2 do not have accents on the first 16th note of each of these beats.
Since this figure is similar the figure in m. 6, it will be articulated in the same way with
an accent on the first 16th note of each beat and slurring each group of four 16th notes.
The decrescendo from Source 5 as the line descends will be included.
Measure 99
I agree with the crescendo in Source 5. The slur in Source 5 is ambiguous as to
whether it begins on first or second 8th note of beat three. Three of the four manuscript
sources begin the slur on the second 8th note, E2, of beat three; therefore, the majority of
the manuscripts will be followed.
Measure 100
Sources 3–9 agree on the notes, rhythm, and articulation of this measure. This
measure extends the range of the piece down to B0. The first two sources were probably
written before Vogt obtained an oboe that could play B0. When the piece was converted
from the 1er Concerto to the 4ème Solo de Concert, this passage would have extended the
range of the piece for Vogt’s students. The majority will be used.
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Measure 101
Melodically, the phrase beginning in m. 101 is similar to the third four-bar phrase
of theme 1. The piano only appears in the oboe parts of both the Richault and Costallat
editions. It does not appear within the piano score of either edition and will be omitted.
The articulation in Sources 2 and 3 will be used. The staccato triplets fit the maestoso
character better than the articulated legato of the other sources. I disagree with the
crescendo in Source 5. It will be omitted.
Measure 102
The manuscript sources are all in agreement. The manuscript version will be used
rather than the one found in the Richault and Costallat editions.
Measure 103
The slur over the second and third 16th notes in beat four of Source 2 is
ambiguous. It may also indicate that the final three 16th notes are to be slurred together
as in Sources 3 and 6–9. I prefer to slur the last three 16th notes of this beat. The last
note of the measure is a D-natural in Source 2; it is a D-sharp in Sources 3–9. Source 1
contains a different melody. The D-sharp will be used since it is in the majority of the
sources. The 16th notes, starting a half-step below the main note, on beat one of Sources
6–9 are a written out version of the turn found in Sources 4 and 5. I prefer the regular
turn of Sources 4 and 5; however, a sharp will be added under the turn to reflect the Fsharp found on beat one in Sources 6–9. Sources 3–9 all slur from the G1 on beat one to
the D3 on beat two, so that articulation will be used. The crescendo in Sources 6–9
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follows the line up to the apex of this phrase. I prefer to hold the decrescendo until later
in the bar as in Source 5 to make it more effective.
Measure 104
I disagree with the slurs in Sources 3 and 4 from the dotted half-note to the
quarter-note. The dotted half-note is the resolution of the previous phrase, and the
quarter-note is the pickup to the next phrase. It makes no musical sense to slur them
together. The quarter-notes on beats one and two in Sources 6–9 are a written out form
of the quarter-note grace note and dotted half-note or half-note from the manuscript
sources. I prefer Sources 7 and 9 with the accent on the dissonance and the quarter-rest
to allow breathing space before the next phrase.
Measure 105
The pianissimo in Source 5 should go below the quarter-note pickup on beat four
of the previous measure. This phrase corresponds to the third phrase of theme 1;
therefore, the pianissimo from Sources 5–9 will be used. I do not like the crescendos
found in Sources 6–9. They are not in any of the manuscript sources and will be omitted.
Measure 106–107
In Sources 5–9, the trill contains a Nachschlag, which Vogt probably would have
expected. The long slur in Sources 5, 6, and 8 is probably a phrase marking to show the
cantabile character of this phrase. Five of the sources slur the two 8th notes on beat four
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of m. 107. Two of these, 6 and 8, have a separate slur for these notes underneath of a
longer slur. The articulation in Source 4 will be used in these measures.
Measure 108
The ornamentation found in Sources 3–9 is the same. The rhythm in Sources 6–9
indicates how the slur to G on the first 16th note of beat three should be played.
However, turning the G from a 16th note to a 32nd note would cause it to be played too
short. Because of the cantabile nature of this phrase, the version from Sources 3 and 4
will be used.
Measure 109
The forte from the next measure belongs with the pickup to the next phrase on
beat four of this measure.
Measure 110
The instruction pressez from Sources 6–9 implies rushing or hurrying. I prefer
using the crescendo from Source 5 to give this figure a sense of urgency rather than
pressez. I also prefer to tongue the final 32nd note in this measure as in Sources 2, 3 and
6–9 to make the execution of the interval from B-flat2 to C-sharp2 cleaner.
Measure 111
Only Source 5 deviates in the articulation of this measure. The majority will be
followed. In Sources 7 and 9, the accent mark on the first 16th note of beat three gives a
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slight stress to the apex of the ascending figure in this measure, which makes musical
sense; therefore, it will be kept.
Measure 112
The melody in Source 1 is viable; however, it is the only melodic deviant as the
remainder of the sources agree on the melody. Any of the three different articulations
will work. The majority slurs the first four 16th notes and rearticulates the first 16th note
of beat 2, which begins the slurring of the remainder of the measure. It makes sense to
articulate the leap from E2 to C3 as Sources 3 and 6–9 do. Sources 7 and 9 have a
different rhythm on the last half of the fourth beat with a dotted 16th note followed by a
32nd note instead of the two 16th notes found in the rest of the sources. The majority will
be used.
Measures 113–114
There are two issues in m. 113. Does the trill begin on the upper auxiliary as in
Source 5 or the main note as in all other sources? The trill will start on the main note
because Source 5 is the only deviant and the note preceding the trill in the previous
measure would be the upper auxiliary. The second issue is with the Nachschlag. Should
the three-note Nachschlag from Sources 5–9 be used, or should the standard turn ending
inferred by a lack of Nachschlag in the other sources be used? The three-note
Nachschlag will be used because it is in one of the manuscript sources in Vogt’s hand as
well as in the Richault and Costallat editions. Even though there is no slur in Source 5,
the Nachschlag would have at least been slurred with the trill; therefore, the articulation
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from Sources 6–9, which slurs from the trill through the downbeat of m. 114 will be used.
Three of the four manuscript sources have the note on beat one of m. 114 as a quarternote. Sources 1 and 5 are the only ones that have a half-note. The quarter-note matches
the quarter-note in the low strings in Sources 3 and 4.
Measure 115–116
The a piacere from Sources 6 and 8 will be omitted. The un poco rall. in Sources
6–9 is a much clearer instruction. I prefer its placement in m. 116 as in Sources 7 and 9.
Starting the rallentando on the sextuplet in m. 115 would slow down the music too much
by the time the accompaniment reenters in m. 117. I prefer to start the decrescendo in
rallentando on the second half of m. 116. The majority of the sources tongue the first 8th
note of m. 116. Only Sources 7 and 9 slur through that 8th note. I prefer to see all of the
8th notes written out as in Sources 6–9 rather than the short-hand of Sources 1–5.
Measure 117–22
Only Sources 1 and 2 do not have the pianissimo at the beginning of m. 117. The
melody in Sources 4 and 5 is slightly different from the others because of the
approaching end of the movement in these versions. If a cut is to be made, I prefer to do
it later as in Sources 6–9. The cut in Sources 6–9 is authentic because there is a page
with this cut written by Vogt inserted into the score of Source 3. Aside from Sources 4
and 5, the other sources agree on the melody until last beat of m. 122. The version in the
manuscript sources, 2 and 3, will be used. The 8th notes will be slurred in keeping with
the cantabile nature of this phrase. In m. 121, the 8th notes on beat four of Sources 3 and
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6–9 are a written out version of the quarter-note and its attached 8th note grace in Sources
1 and 2. Source 2 is the only one that does not contain a turn over the dotted half-note F
in m. 121. Perhaps Vogt did not feel the need to include the turn in the part because he
was writing it for himself and would remember it. For articulating the remainder of this
passage, Source 3 version will be used.
Measures 123–5
The rallentando in m. 124 makes sense in the Sources 6–9 because they contain a
cut. The rallentando helps signify the return of theme 2 as part of the development in m.
126. This is the only time any of the exposition material returns in the second cut
version. I prefer this cut because it is after the return of some of the exposition material.
I do not agree with the crescendo in m. 124 in Sources 6–9 because the line is
descending. The articulation in Source 3 will be followed for these three measures.
Source 1 contains different melodic material for the section beginning with the pickups to
m. 126 and cannot be used because no accompaniment for this section currently exists.
Measures 128–129
The grace note ornament between beats one and two of m. 128 in Sources 3 and
6–9 will be used. The version of m. 129 in Sources 6–9 will be used. This version is a
written out form of the half-note and grace-note found in Sources 2 and 3.
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Measure 132
Source 2 leaves out the turn. The turn and the articulation from Source 3, which
matches the articulation from Source 2, will be used.
Measure 134
The accent will be left off of the first grace-note in the measure as in Sources 2
and 3.
Measure 136
Both slurs in Source 2 are ambiguous. The first slur begins on the 8th note A2 on
the downbeat. It looks like the slur ends on the quarter-note D2 on beat two; however
none of the other sources slur to this note, they end the slur on the second 8th note of beat
one. The D2 on beat two must be articulated in any case because it is preceded by
another D2. The second slur in Source 2 ends on the last 16th note of the measure. The
beginning is either on the first 16th note of the third beat or the second 16th note of the
third beat. The rhythm for the last two beats of this measure will be eight 16th notes as in
Sources 2, 3, 6, and 8. The 32nd note followed by a 32nd note rest on the first part of beat
three that is found in Sources 7 and 9 will not be used. However, the crescendo from
Sources 6–9 will be used to set up the forte in the next measure.
Measure 137
The articulation from Source 3 will be used in this measure. Source 2 may match
the articulation from Source 3; however, its first two slurs are ambiguous. When this
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measure repeats at piano in m. 139, the articulation in Source 2 clearly matches the
articulation from Source 3 in this measure.
Measure 138
The decrescendo in Source 3 follows the descending line to the p in the next
measure. The staccato symbol on the first triplet of beat one in Source 3 is absent when
this measure repeats in m. 140 at piano. No other source has this staccato. Also in
Source 3, there is a slur within the slur that goes from the second triplet of beat two to the
end the measure. The slur within goes from the second triplet of beat two through the
first triplet of beat three. Only the longer slur, which is also found in Source 2, will be
used.
Measure 139
Vogt’s articulation from Source 2 will be applied. The staccato on the first triplet
of beat three in Source 3 is not present when this figure was first played at forte two bars
earlier. The change in dynamics provides enough of a variation to keep the articulation
the same. This staccato does not appear in any of the other sources. Both of the
manuscript sources articulate the downbeat; therefore, the manuscript versions will be
followed rather than the Richault and Costallat versions, which slur the downbeat.
Measures 140–2
For these measures, the articulation from Source 2 will be used except for the
accent on beat four of m. 140. The accent does not appear in any other source, and there
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is no apparent reason to specially accent this note. I like the crescendo in m. 141 in
Sources 6 and 8. The crescendo in Sources 7–9 begins in m. 140, which is too early and
during a descending figure. The decrescendo in m. 142 in Sources 6–9 is in opposition to
the ascending melodic line. If anything the crescendo from the previous measure should
begin in m. 142; however, it will be placed as indicated in Sources 6 and 8.
Measures 143–4
The accent on beat one of m. 144 in Source 3 is omitted in the rest of the sources;
therefore, it will be omitted from this edition. Source 1 does not contain any articulation
markings for these measures. The remainder of the sources agree that that dotted halfnote should be slurred to the quarter-note in each measure. I often breathe between beats
three and four in m. 143, thereby breaking the marked slur. These notes should be
slurred if no breath is needed.
Measure 145
Sources 2 and 3 do not have a slur between the half-note on beats two and three
and the quarter-note on beat four, while Sources 6–9 slur these two notes. Whether or not
beat four is tongued will not significantly impact this piece; therefore, beat four will be
articulated as in the manuscript versions.
Measure 146
Sources 3 and 6–9 are a further ornamentation of Source 2’s dotted half-note and
its quarter-note grace-note. The grace-note and dotted half-note will be written out as
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two quarter-notes as in similar instances. A quarter-note rest will be added on beat three
to give the oboist an opportunity to breathe. The three-note grace from Sources 3 and 6–
9 will be added to the quarter-note on beat one. The forte on beat four in Sources 6–9
would allow the two bar phrase that follows to be repeated at piano on the pickup to m.
149. It will be excluded from this edition because it would lessen the effect of the
pianissimo found in m. 151 in the two manuscript sources.
Measure 147
The A2 on beat three must be rearticulated because it is preceded by another A2;
therefore, the articulation found in Sources 3 and 6–9 will be used.
Measure 148–149
The articulation in Sources 6–9 matches the articulation in Source 2 in m. 148.
The articulation in Vogt’s hand will be followed instead of the articulation in Bruyant’s
hand. The same articulation will be used for this measure as in m. 147. The piano from
Sources 7 and 9 and the pianissimo from Sources 6 and 8 will be omitted. See m. 146.
The un poco ritard is in Sources 6–8 because of the impending end of the movement in
their version. The same is true for the un poco rall in Sources 7 and 9 in m. 149. Both
will be omitted.
Measures 150–151
The melodic content in Sources 6–9 is for the upcoming conclusion of the
movement in their version and will not be used. The pianissimo in Sources 2 and 3
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should go under the 8th note pickups in m. 150 as they are the beginning of the next
phrase. I prefer the written out 8th notes as in Source 3.
Measures 156–157
I like the decrescendo down the chromatic scale for the start of the recapitulation
of theme 2 in m. 158. A crescendo should be added in m. 156 to allow room for the
decrescendo in m. 157 in Source 3. I would also add a slight ritardando going into m.
158. Measure 157 is a quasi cadenza as the accompaniment is tacet for the last two beats
of this measure. These three instructions will be added in brackets as they do not appear
in any of the sources.
Measures 159–160
The grace-note ornaments will be written out as 16th notes as with the
corresponding measures, 41–2, in the exposition.
Measures 163–6
See m. 48 for the articulation. There will be no slur to the downbeat of m. 165
because the downbeat was not slurred to in the corresponding measure of the exposition.
These measures present the possibility of the performer adding free ornamentation.
Measures 167–8
The whole-note trills in these measures will be slurred together as they were in the
exposition. The dynamics and the Nachschlag from the exposition have been added here.
These measures could also be a place of further ornamentation.
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Measures 169–170
I have ornamented these measures to more closely match their corresponding
measures in the exposition. See mm. 68–9. The rall. un poco and crescendo from the
exposition have both been added.
Measure 171
As with the beginning of the closing theme, I have added a measure in the
accompaniment to allow the soloist to breathe. The 16th notes will all be slurred as in m.
71. This measure will be played forte to allow for the echo at piano in m. 175.
Measure 172
The descending 16th notes from the second half of beat one through beat two will
be slurred as in the long slur in Sources 2 and 3.
Measure 175
Because a quarter-note was used on beat one the corresponding measure, 75, of
the exposition, a quarter-note will be used here instead of the 8th note followed by in 8th
rest in Sources 2 and 3. The articulation will also match m. 75.
Measure 176
The 8th note C on beat one was not slurred to the 16th note on the second half of
beat one in m. 171; therefore, these notes will not be slurred here. The accent on the first
16th note in beat three will be kept because it matches the accent in m. 172; however, the
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accent from Source 2 on the third 16th note of beat four will be omitted because it does
not match m. 172.
Measure 178
As in the exposition, there should be a crescendo over the ascending line in the
last two beats of this measure. The articulation from Source 3, minus the long slur over
beats three and four, will be used because it is more precise. The ascending line would
have been performed with some sort of articulation pattern, so the one provided in Source
3 will be used.
Measure 179–80
Measure 179 should be played forte to allow m. 180 to be played piano. These
dynamics will match the dynamics of a similar figure in mm. 79 and 80 in the exposition.
Again, the articulation pattern from Source 3 will be used for beats three and four of both
measures for the reason stated for m. 178.
Measure 181
This measure will be articulated as in Source 3.
Measure 183–4
The articulation from Source 3 will be used in these measures; however, it may be
necessary to exhale after the dotted quarter note in m. 183. This breath would break the
slur. An inhalation could then be taken between beats two and three in m. 184. The trill
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from Source 3 in m. 184 will be used, and the standard turn Nachschlag will be added. A
forte will be added in m. 184 to coincide with the apex of the movement.
Measure 185
The articulation from Source 2 will be used on the first two beats, and the
articulation from Source 3 will be used for the final two beats of the measure. Doing so
will keep the articulation pattern of slurring the steps and tonguing the leaps. The
dynamics from Source 3 will be employed.
Measures 186–8
The articulation and dynamics from Source 3 will be used in these measures. The
forte in m. 187 will be placed in brackets and moved to m. 188 to allow for a crescendo
up the ascending line in m. 187. Putting the forte on the downbeat of m. 188 also puts it
on the apex of the line.
Measures 189–90
I have added an ornament similar to the one found at the end of the exposition in
m. 93. Vogt would probably not play up to a G3, which would be required if the m. 93
ornament was transposed exactly. In this instance, I have rewritten it to return back to the
G2. See m. 232 in my edition. The dynamics from the accompaniment have been added
in brackets.
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Movement 2: Adagio
Sources 6–9 are written in 4/4 time; however, they were rewritten in the
comparison score in 2/4 time for easier examination. Bruyant mentions in his note on
Source 4 that the Adagio has been written in the 2/4 time signature because the
accompaniment tends to rush (“L’adagio est écrit à ce temps, parce que les
accompagnateurs tendait à presser”). 69 The 4/4 time signature has been chosen for this
edition instead of 2/4. The 2/4 is likely to have been counted by 8th notes, meaning it
would have been counted in four. The 4/4 time signature is much easier to read than the
2/4.
Sources 1–4 use the title Adagio. Source 5 uses Adagio Molto. Sources 6 and 8
title the movement Adagio but indicate the tempo as Largo. Sources 7 and 9 also title the
movement Adagio and indicate the tempo as Largo, but they add “e amoroso” after
Largo. This movement will be titled Adagio as in the majority of the manuscript sources.
In Source 1, this is a section of a larger second movement that is a seven-part
rondo. The rest of Source 1’s second movement is not included in the comparison score
because its material is not found in any of the other sources except for this adagio section.
69
Burgess, A Portrait of Gustave Vogt, 142.
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Measure 1
Two of the four manuscript sources, Sources 4 and 5, use piano for the opening
dynamic. Source 2 uses pianissimo, and Source 3 has no dynamic indication. Sources 6–
9 use piano. The opening dynamic will be piano as in the majority of the sources.
Measure 2
The amoroso instruction in Sources 6–9 will be used because it indicates the
character of the movement. The rhythm in Sources 1–3 is unclear. To make what is
written fit within the measure, the 32nd notes were turned into a sextuplet; however, there
is no indication in any of these sources that this figure should be played as a sextuplet. It
appears that the correct rhythm for this figure is found in Sources 6–9 by tying the
quarter-note to a 16th note. The added 32nd notes in Sources 4 and 5 are an
embellishment upon the simpler melody found in the remainder of the sources. This
embellishment will not be used here because the figure returns in m. 5. The
embellishment will be used upon the figure’s return. The crescendo in Sources 6–9 will
be used because it shows the direction of the line toward the downbeat in the next
measure. Sources 4 and 5 also indicate a crescendo as the line ascends. The articulation
from Sources 7 and 9 will be used. I prefer to slur all of the 32nd notes together because
this aids in creating the amoroso and cantabile character of this movement. The long slur
shows the overall phrasing of this measure, and the shorter slur over the 32nd notes shows
that the A1 can be tongued lightly if needed. Achieving a smooth legato from F2 to A1
can sometimes be difficult. The A1 is indicated to be tongued in Sources 1–3.
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Measure 3
The 32nd notes on the first half of beat one are an ornamentation of the resolution
from F to E-flat in Sources 1–3. Source 1 delays the resolution to E-flat until beat two.
The remaining sources have a three 16th note pickup to m. 4. Sources 2 and 3 have the 8th
note on the second half of beat one tied to a 16th note on beat two. Sources 4–9 have a
16th note rest in place of the tie. The rest helps show the division in phrases and gives the
oboist a chance to breathe. The ornament in Source 1 could be compressed to fit the
resolution of the other sources; however, I prefer the chromaticism of the ornament found
in the majority of the sources. The two manuscript sources, 4 and 5, that contain the
chromatic 32nd note ornament slur through the resolution to E-flat. Sources 6 and 8 also
slur through the resolution; however, Sources 7 and 9 tongue the E-flat. In other
instances of similar resolutions that are unornamented within this movement, the
appoggiatura is slurred to its resolution; therefore, this one will be slurred as well. The
diminuendo in Sources 4–9 will be used to show the resolution from dissonance to
consonance.
Measures 4–5
The harmonic progression in Sources 4 and 5 differs from the other sources in
these two measures. The harmonic progression in Sources 4 and 5 for measures four and
five is as follows (each chord receives one beat): vi, ii6; I6/4, V. The harmonic
progression for these two measures in the remainder of the sources moves from I in m. 4
to V in m. 5. This harmony will be used because it is in the majority of the sources,
including two of the manuscript sources. Because the ornament on beat two of m. 4 and
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beat one of m. 5 is for a different harmonic progression, it cannot be used; however, the
ornament found in beat one of Sources 4 and 5 will work as it is also found in Sources 6–
9. Of the six sources that use this ornament, only Source 5 does not slur from the
dissonance, E-flat, to its resolution, D. These two notes will be slurred as in the majority.
For beat two of m. 4, the melody from Sources 2, 3, and 6–9 will be used. The two
manuscript sources with this melody tongue the B-flat2 that is the second 32nd note of
beat two; therefore, it will be tongued. Although Source 1 has a different melodic line,
its rhythm is the same, and it also tongues the second 32nd note of beat two. The
diminuendo and crescendo in m. 4 found in Sources 6–9 will be used. Even though the
line is descending during the crescendo, its goal is the F on beat one of m. 5. This phrase
is constructed in a similar fashion to the one in mm. 2 and 3.
In m. 5, the rhythm, articulation, and dynamics from Sources 6–9 will be used.
The 16th note rest followed by a 16th note pickup on the second half of beat two allows
the oboist to take a needed breath for the next phrase. Of the sources that use the same
melodic figure from m. 5, only Source 3 does not slur through the 8th note on beat two.
The F2 on the downbeat of the measure is the goal of this phrase; therefore, the
decrescendo in Sources 6–9 backs away from the musical goal and follows the line as it
continues descending.
Measure 6
This measure is a repeat of m. 2; therefore, the more complex version of this
measure found in Sources 4–9 will be used. Source 4 articulates the first 32nd note E-flat
on the second half of beat one. The remainder of the sources using this material slurs the
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entire measure, which adds to the cantabile quality of the line. As in m. 2, the crescendo
that follows the ascending line from Sources 6–9 will be used.
Measure 7
In Source 4, it appears that the next two measures have been pasted over because
the staves do not exactly match. Sources 4 and 5 have compressed the next portion of
this phrase and added a measure of rest for the soloist. By doing so, the soloist can make
it to the end of the phrase more easily in one breath and has a full measure of rest in
which to recuperate for the only time in the movement. This movement is playable
without the extra measure of rest; however its execution is much easier with the rest.
One option would be to insert the extra tutti after the longer version of this phrase.
Sources 6–9 will be used for this measure. The extra 16th note D3 in Sources 6–9
is a slight rhythmic variation on Sources 2 and 3. Repeating the D makes a breath, if
needed, between the two notes less obvious. The ornament on beat two of Source 1
would work harmonically and melodically in this edition; however, it is too flashy for the
current construction of this movement.
Measure 8
The 8th notes on beat one in Sources 6–9 are a written out version of the quarternote with its grace-note in Sources 2 and 3. These grace notes will be written out here for
consistency. I often inhale, after exhaling in the previous measure, during the tied note;
therefore, the second 32nd note of beat two will be articulated as in Sources 2 and 3. The
more complex ornamentation on beat two of Source 1 would work in this edition;
169
however, it is again too flashy within the context of this piece. Vogt decided to simplify
the ornamentation in later versions. The version in Sources 7 and 9 will be used for the
last fourth of beat two. The triplet and grace-notes in this version are a written out
version of the trill in Sources 2 and 3. The piano in Sources 7 and 9 gives the performer
a dynamic target for the diminuendo from the previous measure and will be included.
The poco rit. in Sources 6–9 gives the soloist space to gracefully play the turn within the
triplet.
Measure 9
Source 3 with the addition of an a tempo instruction will be used for this measure.
The two manuscript sources agree to tongue the second 32nd note of beat two. The leap
down makes a more interesting melodic line than the simple descending scale and will be
used; however, I add a small ornament in the next measure that works better with the
stepwise motion in this measure. Either option is viable. The crescendo and decrescendo
in Sources 6–9 follow the line as it ascends and descends and will be included.
Measure 11
As in other similar instances, the version in Sources 6–9 is a written out form of
the quarter-note and its grace-note in Sources 2 and 3. Continuity in notating these
resolutions will be maintained by using the version in Sources 6–9. The measure of rest
found earlier in Sources 4 and 5 will be inserted here. See m. 7. Sources 7 and 9 are the
only ones not to begin the next phrase at pianissimo. This phrase will begin at pianissimo
as with the majority of sources, and the dynamic will be placed underneath the pickup.
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Because of the extra measure of rest, this pickup will now be an 8th note, as indicated in
Sources 4 and 5, instead of a 16th note to create a parallel with the first solo oboe
entrance.
Measure 12
The next several bars are not in Source 1; it goes straight from the pickup in the
previous measure to m. 19. This rhythm, as in m. 2, is written incorrectly in Sources 2
and 3. I prefer the version with the more complex ornamentation in Sources 4 and 5. I
agree with the crescendo in Source 5 but would move it to begin where the line begins its
ascent on the third 32nd note of beat two.
Measures 13–4
The majority of the sources use an arpeggio down the A-flat dominant seventh
chord rather than the leap down from A-flat2 to C2 in Sources 2 and 3. I prefer slurring
down to the C as in Sources 2, 3, and 6–9. The end of the slur in Source 4 is ambiguous.
I agree with the decrescendo in Source 5 that follows the arpeggio down. The
decrescendo will be included because decreasing in volume makes slurring to the C more
sensible as this is a less obtrusive way to play the note. I prefer the crescendo in Sources
6 and 8 and the written out turn in Sources 7 and 9. Sources 4 and 5 also contain a
written out turn before the second 16th note of beat two. The version in Sources 7 and 9
with the turn written out between the second and third 16th notes of beat two is more
comfortable to play and rhythmically more clear; therefore, this version will be used.
The crescendo and decrescendo in Sources 6 and 8 follow the overall ascent and descent
171
of the melody and will be included. Tonguing the C3 on beat two helps emphasize the
apex of the crescendo. Measure 13 will be articulated as in Source 3. The 64th notes on
the last part of beat two are found in a majority of sources, including two of the
manuscript sources, 4 and 5.
Measure 16
I prefer the slightly more ornamented version in Source 4–9 and the articulation in
Sources 6–9, which is essentially the same as the articulation in Sources 2 and 3.
Measure 17
Only Sources 6–9 have the accent on the downbeat, and only Sources 4 and 5 tie
the last 8th note in the measure to the first 8th note in the next measure. The tie and accent
will be omitted.
Measures 18–9
I prefer the more complex ornamentation of the version found in Sources 4–9. A
crescendo up the ascending line is found in all versions. Even though there is no
dynamic indicated for the F3 in any source, a forte will be inserted here in brackets since
this is the highest note in the piece. It also serves as the halfway point of the piece.
Adding a forte here makes further sense if a piano is inserted at the beginning of m. 20 as
in Sources 6–9. Playing the F3 as an 8th note as in Sources 4–9 gives the oboist more of a
break than the quarter-note found in Sources 2 and 3. The 8th note also works better with
the accompaniment from Sources 4, 6, and 8 that will be used in this edition. I prefer the
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articulation in Source 4, although any of the versions are viable. The articulation in
Source 4 is the most similar of any version to the articulation in Sources 2 and 3 when
taking into account the difference in rhythm.
Measures 20–1
I prefer the version in Sources 6–9 for these two measures. The piano is needed
after inserting the forte for the F3. The triplet in m. 21 is a written out form of the grace
note and is a clearer representation of how that figure should be played. I do not agree
with the dynamics, especially the decrescendo, in Source 5. They will be omitted
Measures 22–3
I prefer the articulation in Source 3 for m. 22. Source 2 is the only source that
slurs across the bar line into m. 22. This is probably a mistake since it is the only source
with this articulation and the repeated E-flat would need to be tongued or tied. The slur
in Source 2 does not indicate a tie. Source 4 contains a slightly different melody. The
highest note is C3 instead of the E-flat3 in all other sources. Source 1 is an unornamented
form of the other versions. The crescendo and decrescendo from Sources 5–9 will be
used. Even though the line is descending, it makes sense to crescendo to the highest note
and then decrescendo away from it as the line descends.
For m. 23, the articulation found in Sources 2 and 6–9 will be used. Measures 22
and 23 resolve from V to I; however, the quarter-note E-flat is a suspension from the
dominate chord in m. 22 that resolves to the third of the tonic triad on beat two. The final
8th note of the measure acts as a pickup to the next measure. The suspension will be
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slurred to its resolution, and the pickup to the next phrase will be tongued to separate the
two phrases.
Measure 24–5
For the Nachschlag of the trill on beat two of m. 24, either D-natural as in Source
4 or the D-sharp as in Sources 3 and 6–9 will work. The D-sharp will be used because
that note is in the majority of the sources containing a Nachschlag. I do not agree with
the dynamics in Sources 5, 6, and 8 for m. 23. These are the only sources with a
sforzando on beat two of m. 24. Source 5 also has a sforzando on beat two of m. 24.
None of the szforzandi will be used. The decrescendo in Source 5 in m. 24 follows the
line down and gives the soloist room to crescendo up the line in the next measure. It will
be included. Measure 24 should crescendo slightly throughout its entirety to follow the
general shape of the line up to the C3 on beat one of m. 25. The grace-notes between
beats one and two in both measures of Sources 3–9 are an ornamentation of the basic
melody from Sources 1 and 2. They will be slurred as in Sources 6–9. The standard turn
Nachschlag at the end of m. 25 in the majority of the sources will be used over the threenote Nachschlag from Source 5.
Measure 26
The articulation from Source 2 will be used. The differences between Source 2
and the other versions are insignificant. The crescendo in Sources 5–9 will also be used
to follow the ascending line.
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Measure 27
As in mm. 24 and 25, the sforzando on the second half of beat one in Sources 5–9
will not be used. Three of the four manuscript sources omit the sforzando, and its
placement is awkward unless it is meant to be played on the trill prefix. A Nachschlag
will be added to the end of the trill. I prefer to tongue the E-flat3 on the second 16th note
of beat two. Only Sources 2 and 4 slur to the E-flat. Only Source 5 has a forte in this
measure. Even though this measure contains the highest note of the phrase, I prefer to
save the forte for later in the phrase; therefore, it will not be included. The decrescendo
in Sources 5–9 follows the line as it descends.
Measure 28
From this point on, the melody in Source 1 does not resemble melody in the other
sources. The articulation from Sources 4–9 minus the overarching slurs in Sources 6 and
8 will be used. The accent on beat two is only in three of the eight sources, none of
which are in Vogt’s hand, and will be omitted. The rhythm from the four manuscript
sources will be used for the last half of beat two. I do not agree with the dynamics in
Source 5, and they will be omitted.
Measure 29
Because the trill on beat one is preceded by a fast 64th note run, it is easy to slur
into this trill as in Sources 2 and 3; therefore, the trill will start on the main note rather
than the upper auxiliary as indicated in Sources 6–9. The standard turn Nachschläge
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from Sources 6–9 will be added since they would be expected. A crescendo will be
added throughout the entire measure to match the crescendo in the accompaniment.
Measure 30
The articulation for this measure will be written as it appears in Source 2. Even
though there are several slight differences in articulation for the sextuplet, all of them
would be executed in the same manner. Forte will be placed in brackets on beat one of
this measure. The pianissimo on beat two from Source 5 will be used as it is the only
manuscript source with dynamics, and it breaks a tie of two each for piano and
pianissimo between Sources 6–9. The crescendo in Source 5 follows the ascending line
and will be included.
Measure 31
Source 2 is the only source that omits a tie between the E-flats in beat one. The
tie will be included. There is no need for the accent in the middle of the first sextuplet in
Sources 7 and 9. The articulation from Source 3 will be used for this measure. The
crescendo in Sources 6–9 over the last sextuplet shows the motion of this figure toward
the downbeat of the next measure and will be used.
Measure 32
The 16th note C-sharp on beat one should be slurred to the next 16th note D as in
Sources 3–9. Source 4 is the only source that does not have an articulated legato over the
first note, D2, in the last sextuplet. This note would still be executed with an articulated
176
legato; therefore, the articulation of the majority will be used. The crescendo and
decrescendo appear only in Source 5. They will be omitted.
Measure 33
The staccato markings on the first sextuplet in Sources 2 and 3 do not fit the
cantabile style. For the first three sextuplets in this measure, the version of articulation
found in Sources 6–9 will be used. The version in Sources 2 and 3 will be used for the
articulation of the last sextuplet. It makes more sense to tongue the leap up to E-flat3 as
in Sources 2 and 3 rather than slur it as in Sources 4–9. The crescendos and diminuendo
in Sources 6–9 follow the nuances of the melodic line. They are more precise than the
dynamic markings in Source 5 and will be included.
Measure 34
The articulation in the manuscript sources will be used for this measure. The
crescendo following the ascending line in Sources 5–9 will be used. The piano in
Sources 6 and 8 gives a specific dynamic to begin this figure and will be included.
Measure 35
The articulated legato on the downbeat in Sources 6–9 is not needed and does not
appear in the manuscript sources. The crescendo in Source 5 gives the soloist more room
to make an effective smorzando in the next measure.
177
Measure 36
The version in Sources 7 and 9 will be used for this measure. The instruction
smorz from Sources 4 and 6–9 eliminates the need for the dynamics in Source 5. The
ritardando is more effective when saved until the last sextuplet of the measure. Source 2
does not indicate any articulations. The articulations in Sources 7 and 9, which would be
executed in the same manner as the articulations in Source 3, are more specific.
Movement 3: Rondo Montagnard, Allegretto
Measure 3
The melodic content from Sources 2 and 3 will be used unless otherwise noted for
theme 1, mm. 3–54. As this is the first statement of theme 1, I prefer to play it in its
simplest form, which is found in these two sources. The articulation from Sources 2, 3,
and 6–9 will be used for the pickups. Sources 2 and 3 do not have dynamic indications.
The most common dynamic in Sources 4–9 is piano, which will be used.
Measure 6
The articulation is ambiguous for the first three beats of this measure in Source 2.
Either the first three beats are all slurred, or only the first two beats are slurred and the
third beat is tongued. When this figure returns later in mm. 39 and 150, Source 2 clearly
slurs the all three beats; therefore, this articulation will be used.
178
Measure 7
The pickup notes on beats four, five, and six will be articulated as in m. 3 for
consistency.
Measure 11
The forte from Source 5 will be included to allow the repeat of this phrase in m.
15 to be played at piano.
Measure 13
I prefer the articulation found in Sources 7 and 9. The two other articulations are
also viable.
Measure 15
Only Sources 7 and 9 have a different articulation for this measure by slurring
through the 8th note on beat four. The other sources tongue this note, which clearly
divides the phrase that ends on beat three and the beginning of a new phrase on beat four.
The piano in Source 5 will be used to provide contrast with the previous phrase.
Measure 17
This measure will be notated the same way as m. 13.
179
Measures 25–9
The phrase beginning on beat four of m. 25 is omitted in all sources except 2 and
3. This phrase is only reiterating a cadence in the dominant. It is not used in the tutti
following the end of the previous phrase in Sources 4–9. The oboist will probably need
to breathe here, so the phrase contained in these measures will be excluded.
Measure 30
Source 4 is the only source without a dynamic. Sources 2 and 3 use pianissimo,
and Sources 5–9 use piano. This measure begins a repeat of what was played in the tutti.
The two orchestral tuttis play this passage at piano and the piano reductions play this
passage at forte. Piano will be used to go with the majority of sources and the tuttis. The
tutti will be played piano to go along with the orchestral version in the composer’s hand.
The staccatos as in Sources 4, 5, 7, and 9 will be used.
Measure 31
Since this phrase is a repeat of the previous tutti, the ornamentation found in
Sources 4–9 will be used. Only Source 5 slurs to the F-sharp trill on beat four. The
majority will be followed by tonguing the F-sharp. This note is also tongued in the two
sources that do not ornament it with a trill. The downbeat of the next measure will be
tongued as in the manuscript sources.
180
Measures 34–5
By playing the figure that begins on beat three of m. 34 forte, it sets up the
figure’s repeat to be echoed at piano in the next measure.
Measure 36
The fermata over beat three in Sources 6–9 shows that the soloist can take some
time before reentering. The Tempo 1 in Sources 6–9 clarifies the tempo, and the piano in
Sources 5–9 clarifies the dynamic at which the next phrase should be played. The
articulation of the 8th notes on beats 4, 5, and 6 will be the same as in m. 3.
Measure 38
The 16th note triplet on beat four in Sources 4–9 will be used. The triplet is a
written out inverted mordent. It should be clear by this measure that the first part of
theme 1 has returned; therefore, different and more complex ornamentation will be used
from this measure forward to add variety. Beats four through six will be slurred as in all
of the sources except 4.
Measure 39
The melodic ornamentation from Source 5 will be used in this measure. I find
Source 5’s version of the end of this measure more interesting than Source 4’s ending;
however, I prefer to tongue the beginning of beat four as in Source 4. The crescendo
following the line up in Sources 6–9 will be used to help show the shape of the line. The
crescendo should also be played in m. 6 where this figure is first heard.
181
Measure 40
The decrescendo in Sources 6–9 will be included to follow the descending figure.
The pianissimo in Source 5 will be omitted. All of the sources agree on the articulation
of slurring the last three beats of the measure. This makes no sense here as it is the same
pickup from the beginning of the movement; therefore, I believe it to be an error that has
crept into all of the sources. The majority of the time this figure appears, it all three notes
are articulated with the articulated legato; therefore, articulated legato will be used for all
three notes to remain consistent.
Measure 41
This measure is a slight variation on mm. 8 and 37. The grace-notes before beat
one in Sources 2 and 3 should be kept because they help the ear relate this measure to its
previous versions. The 16th note triplet on beat four found in Sources 4–9 will be added.
All of the sources except Source 4 slur beats four through six. The articulation of the
majority will be followed.
Measures 42–4
These measures repeat beginning in m. 46; therefore, the simplest form of the
melody from Sources 2 and 3 will be used. Source 3’s articulation will be followed in
these three measures. The crescendo in m. 44 in Sources 6–9 will also be used because it
shows the direction of the phrase to the D3 on the downbeat of the next measure.
182
Measures 46–9
The version in Sources 7 and 9 will be used for these measures. Since mm. 46–7
are a repeat of mm. 42–3, the slightly more complex ornaments will be used in these
measures. The triplets are not much more complex than the single graces of Sources 2
and 3; but they provide a bit more variety. The longer crescendo in Sources 7 and 9 will
be included instead of the shorter one in Sources 6 and 8. The forte in m. 48 in Sources 6
and 8 is too soon because the phrase is at least moving toward its apex on the D3 in m. 49.
As in m. 45, I often break the slur between beats one and three of m. 49 for a breath.
Measures 50–4
Vogt’s articulation from Source 2 will be followed in these measures. A staccato
mark will be placed over the G2 on beat four of m. 52 to keep the articulation of this
measure consistent with the articulation of m. 50. Crescendoing to forte on the downbeat
of m. 50 allows the soloist to create an echo effect at piano in m. 52 as in Sources 6–9. A
piano here will also match the dynamic in the accompaniment. Although not indicated in
any of the sources, I prefer to hold the crescendo until m. 53 to end theme 1 on forte in m.
54. These dynamics have been placed in brackets.
Measure 60
Vogt is possibly trying to bring out the illusion of a second voice within the oboe
line with the accents on the second 16th note of beats one and four in Sources 2 and 3.
These notes will be heard without the accents because they are tongued and because of
their register; therefore, the accents will be omitted.
183
Measure 63
The articulation in Source 2 will be used for this measure because it is in Vogt’s
hand. The articulations found in either source will work for this measure without making
a significant impact on the character of the passage.
Measure 64
The accents on the first 16th note of beats three and six in Sources 2 and 3 will be
omitted. The figure in this measure is similar to the figure in m. 60; therefore, it is
interesting that the accents have been placed on a different beat in the figure.
Measure 65
The slur beginning on beat four in Source 3 is ambiguous. It appears to end over
the second 16th note of beat five; however, this seems to be a mistake. Measure 66
contains a similar figure that is articulated the same way in both sources. It follows the
articulation in Source 2 for m. 65; thus, the articulation from Source 2 will be used for
this measure.
Measures 68–70
The three 8th notes on beats four through six in m. 68 are slurred in both sources.
The three 8th notes on beats four through six in m. 70 are also slurred in Source 2. It is
likely that Vogt would have articulated this rhythmic figure the same way each time and
that he accidentally omitted the slur from m. 69 in Source 2. Since the majority of these
figures contain a slur, a slur will be added in m. 69.
184
Measure 73
Source 3 contains a slur between the 8th note G2 on beat one and the quarter-note
D2 on beat two while Source 2 omits this slur. Measure 71 has a similar figure with the
quarter-note on beat two as a D3 instead of D2. Both sources slur the interval in m. 71;
therefore, it will be slurred in m. 73 as in Source 3.
Measures 74–6
Each of these measures contains the same melodic content. Vogt does not offer
any articulations for the 16th notes in these measures in Source 2; however, it is unlikely
that he would have tongued them all. The lack of articulation markings suggests that
Vogt either did not have a specific articulation in mind or that the articulation changed
from performance to performance. Bruyant’s copy in Source 3 contains slightly different
articulations in each measure. Measure 74 slurs the 16th notes on beats two and three and
tongues the first 16th note on beat four. The next group of 16th notes is slurred through
the downbeat of m. 75. Measure 75 has the same articulation except that the slur
beginning on beat four stops at the end of the measure. Measure 76 slurs all of the 16th
notes in the measure. I prefer to slur the 16th notes on beats two and three as in mm. 74
and 75. I then slur together the two 16th notes on beat four and tongue the 16th notes on
beats five and six. The same articulation will be used in each of these three measures.
185
Measure 82
The figure in this measure returns in mm. 86 and 97. When it returns, both
versions consistently have an accent over the dotted quarter-note G2 on beat four as in
Source 2 in this measure, so this accent will be retained.
Measures 104, 106, and 107
I prefer to slur the group of three 8th notes on beats four through six in each of
these measures as in Source 3. The sforzando on beat four of mm. 106 and 107 in both
sources will be omitted. It is not present in any of the sources in the corresponding
measures (mm. 232 and 233) in the recapitulation.
Measures 110 and 111
The oboe part has been given to the piano in these two measures. These measures
are repeated in mm. 112 and 113. Giving these two measures to the accompaniment
varies them on their repeat and gives the oboist a couple of extra measures to recover and
reset his breathing to execute the upcoming strenuous passage.
Measure 112
Vogt does not indicate an articulation for this measure; therefore, the articulation
that Vogt indicates in m. 110 in Source 2 and is copied in Source 3 will be used here.
This measure should be played forte as m. 110 is in Source 3.
186
Measure 113
I prefer to use the articulation in m. 111 from Source 3 as these two measures are
the same melodically.
Measures 114–9
The articulations from Source 3 will be used for these measures since Source 2
provides no articulation markings. The E2 on the first 16th note of beat six in both
sources is a mistake. The same figure is played with an F2 in m. 119. The corresponding
melody for these measures (mm. 261–2) in the recapitulation also suggests that F2 is
correct. Piano will be placed in brackets in m. 119 to create an echo effect for the repeat
of m. 118. The same figure occurs transposed in. mm. 261–2 of the recapitulation.
Piano is not marked in any of the oboe parts; however, it is marked in the
accompaniment
Measure 120
I prefer to slur all four of the 16th notes on beats two and three and tongue the first
16th note on beat four before slurring together the remaining notes in the measure.
Source 2 contains no articulation markings, and the articulation in Source 3, does not
occur in any similar passages of 16th notes in this movement. A crescendo will be placed
where the line begins its ascent in m. 120, otherwise the piano in m. 125 does not make
sense.
187
Measures 121–9
These measures will be articulated as in Source 3. Nachschläge will be added to
the trills. The dynamics in the oboe part will match the dynamics in the accompaniment
of Source 3. These dynamics will be bracketed.
Measures 141–2
The staccatos will be added over the 8th notes to continue the articulation of this
sequence that began in m. 140.
Measures 147–169
Measure 147 begins the return of an abbreviated version of theme 1 in the oboe.
It will be articulated the same way as it was in the beginning. It is possible to ornament
the return of the theme by taking some of the ornamentation from Sources 4–9 in the
exposition; however, none will be added in this edition.
Measures 171–2
The pickup to m. 172 begins the retransition. The majority of sources use the
dynamic forte. Sources 4 and 5 contain fortissimo, and Sources 6 and 8 show no dynamic
for the oboe part. The dynamic is forte for the piano accompaniment in Sources 6 and 8.
Sources 6–9 also add the instruction energico, energetic. This term provides the
performer with a character for this phrase and will be included. Energico should also be
added in m.56, which is the beginning of the transition in the exposition. Only Source 5
188
does not slur across the bar line from m. 171 to the downbeat of m. 172. The majority,
slurring over the bar, will be used. The trills from Sources 3, 7, and 9 will be included.
Measure 173
Sources 7 and 9 slur across the bar line to the first note of m. 174. The remaining
sources do not; therefore, the majority will be used. Source 3 has a trill over the
downbeat. Sources 7 and 9 have a trill on the downbeat and the first 16th note of beat
four. These added trills will be kept.
Measure 174
The articulation, one tongued and five slurred, of each group of six 16th notes will
be used in this measure as in Sources 2, 3, 6, and 8. This articulation helps highlight the
first note, which is in a lower register, of each group of 16th notes.
Measure 175
The articulation from Sources 2–4 will be used on the last three beats of this
measure. The articulated legato works with the cantabile nature of this phrase better than
the staccato markings in Sources 6–9. The Dolce assai instruction in Sources 2 and 3
gives the performer a more specific character than either piano or pianissimo. Dolce
implies piano in addition to a sweet character.
189
Measure 176
The trill and its Nachschlag from Sources 4 and 6–9 will be used to ornament the
line. Tonguing the main note of the trill will slightly accent the note without the need to
write an accent. Slurring would nullify the slight accent gained from tonguing the note;
therefore, this measure will be played as in Sources 6–9 to combine the accent from
Sources 2 and 3 with the ornamental trill in Source 4.
Measure 177
The melody for the next section will be taken from Sources 6–9. It closely
follows the melody in two of the manuscript sources, Sources 4 and 5, and a piano
reduction already exists for this section from Sources 6–9
I prefer to slur from the dotted quarter-note on beat one to the 8th note on beat four
as in Sources 4, 7, and 9; however, I do not like the staccato marking over the 8th note on
beat five in these sources. The staccato marking could be a speck in Source 4 and not an
actual articulation marking. It is positioned significantly higher above the F2 than the
staccato mark over another F2 in m. 175. Neither the slur from beats one to four nor the
staccato mark is in Sources 6 and 8. I do not like the accent on beat six in Sources 7 and
9. This accent is not in the majority of sources with this melody and will be omitted.
Measure 178–80
The 16th notes on beats four through six of mm. 178 and 179 in Source 4 are an
ornament to the arpeggios in Sources 6–9. The 16th note ornaments feel odd rhythmically
and will be omitted. The articulation from Source 4, which matches the articulation
190
found in Sources 6 and 8, will be used. As in m. 177, the accents on beat six will be
omitted.
Measures 181–8
The articulation for these measures will be taken from Source 4. Beginning in the
pickups to m. 186, Source 5 contains a slightly different melody that uses a different
harmonic progression. Its melody will not be used. The forte on beat four of m. 181 in
Sources 6–9 will be used to set up the echo of the repeated phrase at piano in m. 185.
The 16th note ornamentation on beats four through six in Source 4 will be used. The
downbeat of m. 189 will be slurred to be consistent with mm. 184 and 185.
Measures 189–90
The figure in the second half of m. 189 is repeated in the first half of m. 190. The
articulation of this figure is consistent both times in Sources 6–9 but it is not consistent in
Source 4. This figure will be articulated both times as in m. 189 of Source 4. The
dynamic will be forte to set up the echo.
Measures 191–2
These measures will be articulated as the previous two measures; but they will be
played in echo at pianissimo as in Sources 6–9. The rallentando will be left out of m.
192 so the one in m. 196 will be more effective. The decrescendo in m. 192 is only in
Sources 6 and 8 and will be omitted.
191
Measures 193–7
Source 5 is the only source that has a different articulation for these measures.
The majority will be used. Since there has been no rallentando or decrescendo, the
Tempo 1 in Sources 6–9 and pianissimo in Sources 5, 7, and 9 are not needed. The
sforzando on beat one of m. 196 in Sources 6 and 8 and the accent on beat one of the
same measure in Sources 7 and 9 are not present in either of the two manuscript sources
that contain this phrase. The accent and sforzando will both be omitted. The rallentando
in Sources 6–9 will be placed under beat four as in Sources 6 and 8 because most of it
will occur in the last three beats of the measure.
Measures 199–211
These measures will be cut as in Sources 6–9 so this movement does not become
too long.
Measure 212
In Source 2, Vogt is consistent about accenting the dotted quarter-note on beat
four of this figure. There is also an accent on this note in Sources 3, 6, and 8. The
crescendo from Sources 4–6 and 8 will be used to show the direction of the line. Sources
4 and 5 ornament the dotted quarter-notes with an 8th note line. The majority, Sources 2,
3, and 6–9, will be used for the melody.
192
Measure 213
I prefer the contrast in articulation between the first three beats staccato and the
last three beats articulated legato in Source 2 and 5. When this figure is transposed up a
minor third in m. 215, Source 3 follows the same articulation as Sources 2 and 5.
Perhaps it is a mistake that it does not do so here. I prefer the decrescendo following the
descending line in beats one through three as in Source 5 instead of the accent on beat
one as in Sources 6–9. Perhaps this accent meant a decrescendo. The accent is not in any
of the manuscript sources. The piano under beat four in Source 5 is not needed and will
be omitted. If anything, the phrase starting on beat four should be a little louder than the
one beginning on the pickups to m. 212 to follow the melody’s ascension.
Measure 214
See m. 212. This measure is the same as m. 212 transposed up a minor third.
Measure 215
See m. 213. The crescendo from Source 5 on the last three beats of this measure
continues into m. 216 as the line ascends. It will be included.
Measure 216
This measure will be articulated as in Sources 2–4. The dotted quarter-note C3 on
beat four is accented in both Sources 2 and 3 when this figure returns in m. 223. This is a
similar figure to those found in mm. 212 and 214 in which the accent was included. It
should be included here as well for consistency. The decrescendo on beats five and six in
193
Source 5 will be omitted because the line is moving toward the downbeat of the next
measure.
Measures 217–8
The version in Sources 2 and 3 will be used for these measures. Because the line
is moving toward the downbeat of m. 217, the pianissimo in Source 5 will be excluded.
The 8th note D on beat six should have a sharp beside it for clarity as in Sources 6–9.
Measures 222–5
These measures will be played as in Source 3. Piano, as in the manuscript
sources, will be used over the pianissimo from the published sources. Sources 4 and 5 do
not have these measures; however, Source 5 indicates a dynamic of piano when it
reenters in m. 226. The articulated legato for the three 8th notes in m. 222 as in Sources
2, 3, 6, and 8 is consistent with how this figure has been played previously.
Measures 226–8
The piano in m. 226 in Source 5 is not needed here since it is in m. 222. The
crescendo from Source 5 has been expanded through all of m. 227. The crescendo
follows the line up and reaches its apex with the line on the D-flat3 in m. 228. The D-flat
is not expected here because the previous phrase concluded on the tonic F major. The
two dotted quarter-notes in m. 227 should be slurred because this figure is similar to the
previous dotted quarter-note figure that was slurred. The trill is only ornamental. The
standard turn Nachschlag will be added. The version in Sources 2, 3, and 6–9 will be
194
used in m. 228. The decrescendo in Source 5 in m. 228 will be omitted. I prefer to stay
at a louder volume until later in this phrase.
Measure 229
Since this measure is a repeat of m. 228, the simpler ornament from Sources 4, 7,
and 9 will be used. The articulation from Sources 7 and 9 will be used because it follows
the articulation found for the unadorned melody in the majority of the manuscript
sources.
Measure 230
The rhythm and articulation from the version in Sources 2 and 3 will be used for
this measure. The sforzando on beat four in Source 5 will be omitted. There is no
sforzando in the corresponding measure, 104, in the exposition.
Measure 231
The ornamentation from the second half of the measure in Source 5 will be used
along with its articulation. The dynamics from Source 5 will be omitted.
Measure 232–3
The articulation from three of the four manuscript sources, Sources 2, 3, and 5,
will be used for these measures. Again, the dynamics in Source 5 will be omitted. While
the figures in these measures are similar, m. 233 is not an echo of m. 232. The rhythm is
consistent in these measures with their corresponding measures, 106–7, in the exposition.
195
The figure on the second half of each of these measures often has the rhythm of a dotted
8th note, 16th note, and 8th note.
Measures 236–51
Sources 4 and 5 contain a different coda from the rest of the sources. Because a
piano reduction of the coda beginning in m. 252 in Sources 2, 3, and 6–9 already exists
and the oboe part from that piano reduction closely follows two of the manuscript
sources, the coda from Sources 4 and 5 will not be used.
Measure 252–3
The ossia staff of Source 2 is an alternate version of the coda that was included in
Source 2. It will be called Source 2a. As in the exposition, these two measures have
been given to the accompaniment to allow the soloist an extra chance to rest before
finishing the piece. Measures 254 and 255 are an exact repeat of these measures;
therefore, giving these measures to the accompaniment also adds some variety.
Measures 254–5
These measures will be articulated as in Sources 2, 3, 6, and 8. The forte that was
in m. 252 in Sources 6–9 will be inserted into m. 254 since the oboe entrance has been
moved there.
196
Measures 256–7
These two measures will be played as in Sources 3 and 6–9. Source 2 provides no
articulation for m. 257 and does not have the trill on the dotted quarter-note on beat four.
The standard Nachschlag will be included on the end of the trill. Because this is an
awkward and short trill, performers may want to either leave the Nachschlag out or play
this trill like a turn.
Measure 258–60
Measures 259 and 260 are a whole-step lower sequence of mm. 257 and 258.
The slur from the second 16th note in beat one to the first 16th note of beat three in Source
2 appears to be a mistake. Aside from Source 2a, which has a different melody, all of the
other sources slur the entire group of 16th notes. Source 3 will be used for the articulation
of these three measures. The trill on beat four of m. 259 in Sources 6–9 will be used with
its added Nachschlag. See m. 257.
Measures 261–2
These measures correspond to mm. 118 and 119 in the exposition. In Source 2,
the slur over the second group of six 16th notes is ambiguous in both measures. The
articulation from Source 3, which is also found in Sources 6 and 8, will be used. I play
m. 262 piano to echo m. 261; however, this dynamic is not indicated in any of the oboe
sources. It will be added in brackets to match the exposition.
197
Measure 263–5
Sources 2 and 2a do not have any articulation markings for these measures. The
other sources, 3 and 6–9, that contain these measures have the same articulation. This
articulation will be employed.
Measure 266–9
Measure 266 begins a diversion of Sources 2, 2a, and 3 from the remainder of the
sources. The version from Sources 4–9 will be used because it provides needed space to
breathe. Sources 4–9 all agree on a dynamic of pianissimo in the second half of m. 266.
Source 5 has a slightly different articulation from the other sources for mm. 268 and 269.
Either version will work; however, the majority, Sources 4 and 6–9, will be used. The un
poco rall in m. 266 from Sources 6–9 will be used; however, it will be placed in brackets
and moved to m. 269 so the passage does not slow down too much too soon.
Measures 270–1
The sforzando on beat four of m. 270 in Sources 4 and 5 goes with a sforzando in
the orchestra. It is absent from the both oboe and orchestra in Source 4 in m. 271, which
is a sequential repetition of m. 270. Sources 6–9 and the piano reduction are without the
sforzandi in these two measures; therefore, they will be omitted. It is possible that the
sforzando is serving as a dynamic indicator in Source 4 in addition to showing a strong
accent. Because the rallentando is being used in m. 269, the Tempo 1 is needed. The
forte from Sources 5, 7, and 9 will be used to show the dynamic and character contrast
198
between this phrase and the previous one. The standard turn Nachschlag will be included
on the end of both trills.
Measures 272
Sources 6–9 present a different rhythmic version of the melody from Sources 4
and 5. The triplet version in Sources 4 and 5 will be used because it offers some
rhythmic variety from the passages of 16th notes that occur throughout much of the coda.
Measure 274
Sources 3, 4, 5, 6, and 8 slur this entire measure, and Sources 7 and 9 slur the first
two 16th notes before tonguing the remainder of them. Sources 2 and 2a have no
articulation markings in this measure. I prefer the articulation in Sources 7 and 9;
however, since either version will work, the majority articulation will be used since it
includes three of the manuscript sources. The decrescendo in Source 5 follows the line
down and gives this passage some nuance rather than playing the whole phrase forte. It
will be included.
Measures 275
Again, Source 2 and 2a do not have any articulation marked for the 16th notes in
this measure. All of the other manuscript sources have different articulations. The
published sources do not match any of the manuscript sources in articulation; therefore, I
will use the version I prefer, which is Source 3. The crescendo in Source 5 will be
omitted.
199
Measure 276
The melody from the majority of the sources, 4–9, will be used for this measure.
The two manuscript sources agree with Sources 6 and 8 for articulation. This articulation
will be used. The forte in Source 5 is not needed here. See m. 275.
Measure 277
The option in Sources 7 and 9 to play either the unornamented or ornamented 16th
note version of this measure will be included.
Measures 278–9
Nachschläge will be added will be added to the ends of the trills as in Sources 6–
9.
Measure 280
The remainder of the movement will follow Sources 4 and 5. By resting in this
measure and m. 282, the soloist can breathe to survive the conclusion of the piece.
Otherwise, the soloist must break the trill in m. 278 or find places to circular breathe even
in the version in Sources 6–9 that has a shorter ending.
Measures 281–91
Sources 4 and 5 agree on the articulation in these measures. The dynamics in
Source 5 will be used. The piano in m. 285 creates an echo for the repeat of the previous
200
measure; however, the crescendo will be placed in brackets and moved to m. 286 to
arrive at forte on the downbeat of m. 287 as at a similar melodic figure at the end of
theme 1 in mm. 51–4. For mm. 289–90, the full chromatic scale will be used as in mm.
283–4 in Sources 6–9. The forte in Source 5 will be included instead of the fortissimo in
Source 4 in m. 289. The forte gives the oboist room to crescendo up the ascending
chromatic scale to the F3 on the downbeat of m. 291. The fortissimo in m. 290 of Source
5 will be moved to m. 291 and replaced with a crescendo. Both dynamics will be placed
in brackets.
201
Ancien 1er Concerto
pour le Hautbois
devenu 4ème Solo de Concert
4 ème Solo de Concert
par Gustave Vogt
1er Concerto devenu
4ème Solo de Concert
4ème Solo de Concert
pour Hautbois
4ème Solo de Concert
pour Hautbois
4ème Solo de Concert
pour Hautbois
4ème Solo de Concert
pour Hautbois
3
5
6
9
8
7
4
2
Title
Premier Concerto
pour Hautbois
Concerto Pour le hautbois
par G. Vogt et copie
par lui-meme
Source #
1
Manuscript Solo Oboe
and Orchestra Parts
Written in Vogt's hand
Complete (No signs of editing)
Mostly corresponds to Source #1
Published Piano Score
Complete
Published Oboe Part
Complete
Published Piano Score
Complete
Published Oboe Part
Complete
Manuscript Orchestral Score,
with corrections, additions,
deletions, and sketches
Written in Vogt's hand
Manuscript Oboe Part
Oboe Part
Written in Vogt's hand
with corrections, additions,
deletions, and sketches
Manuscript Orchestral Score
Written in Bruyant's hand
Source Description
Published Oboe Part
Richault
and Cie.
Richault
and Cie.
Editions
Costallat
Editions
Costallat
Publisher
Pleyel
1929–50
1929–50
1884–5
1884–5
1844–69
1844–69
After 1844
1806–27
Date
c. 1804
Portait
Bound recto and verso
Portait
Bound recto and verso
Portait
Photocopies
Portait
Photocopies
Landscape
Appears to have been
bound, recto and verso,
with a single stitch at
the top left corner
Possible second stitch
in the lower left corner
Portrait
Appears to be bound
recto and verso
Portait
Bound recto and verso
Binding
Portait
Bound recto and verso
Portrait
Appears to be bound
recto and verso
Appendix 1: Table of Sources for Gustave Vogt's 4ème Solo de Concert
203
Appendix 3: Vogt's Ornamentation of Movement 3, Theme 1
   
Source 5    
 



 
Source 9    
Source 2
Harmony
 





  
  

 


6
2

H



  

 
 

     


  


   

3
 


I

 


V7
I
3
       





3

     
 




I6
V42
  
 
   
  

 


 



I
V


                                 

     




5 

3

 
F:
9
                       







  

3




 

 
 


 

I


V7
I


  
 

V
C:
   


   



 
 

 
V
 
V

viio/V
I
204

   
   




 




 




 
V6/vi
vi
 

2



5 
 
11
9
2
H



 


   



        
       





 
 

     



 

     


 
 
 
 

 
 
iii

vi



I64


V
   

 

  
   


 




 

 





 
 
V/vi
I
 

vi
               

5  


     
 


 





 


 


I6
IV6
16










   


9  

2
H












 




   

 

I64
  

V7
 

 



I
(V7)
I



           

  


           

  

  

(V7)
205
V7
 


I
3

                


5  


21
9
2

 
  












   
 
H
          
 
    

          








              


    

   


  

(V7)
 
              

  
 

I
 
(V7)
V7

I
F:
       

 
 

 


ii
V/ii
 



ii6
ii
(I)
27
   

       

 







5 

     



9
2
H
  





  
 
 

I6























    



 


 
 


 
 






V
I64
V
I64
V
206
 






4


 
     




 







 


 

31
5

9
2





H

 

 


 

I
3
3

  

   


3
 


    


 


V
I
3
  
 




I6
V42
207











 

I
 
 
 
 
 


V


Appendix 4:
An Analysis of Vogt’s Ornamentation of Theme 1, Movement 3
This example is from theme 1 in the exposition of the third movement. The
bottom system with Roman numeral analysis shows the harmonies that underlie this
melody. Above that is an unornamented version of theme 1, which is taken from Source
2. Above Source 2 is an ornamented version taken from Source 9. Above Source 9 is the
most complex ornamentation of this melody from Source 5.
Measure 2
There is a two-note slide preceding beat one in Sources 2 and 9. In place of the
8th note on beat three, Source 5 adds a passing tone G that changes the rhythm to two 16th
notes.
Measure 3
Source 2 has a grace-note preceding beat four. Source 5 and 9 contain a written
out inverted mordent, which is the 16th note triplet.
Measure 4
The A on the downbeat in all three versions is an appoggiatura. Source 5 has
replaced the two groups of three 8th notes in this measure in the other versions with two
groups of six 16th notes. The F-sharp on beat two is the chromatic lower neighbor to G.
208
The two 16th notes in beat three continue down the C major arpeggio. The 16th notes in
beats four, five, and six create a turn around F. The last 16th note A is a chord tone.
Measure 6
This measure is similar to m. 2. The 16th note triplet on beat four of Sources 5
and 9 is again a written out inverted mordent. The B-flat on beat two is an upper
neighbor, and a grace note has been added to it. The upper neighbor changes the rhythm
in beats one through three from a quarter-note followed by an 8th note to three 8th notes.
Measure 7
Source 5 has changed the rhythm in m. 7. In beats one through three, the rhythm
is four 16th notes followed by an 8th note. The first 16th note E is a retardation that
resolves up to F on the second 16th note. The next 16th note goes up a third to the next
chord tone, A, and the fourth 16th note returns to F. The 8th note C is also a chord tone.
Beats five and six contain a dotted 8th note followed by a 16th note instead of two 8th
notes.
Measure 8
Measure 8 is a repeat of m. 7. In Source 9, a trill is added to the 8th note on beat
three and the articulation of beats four through six has been changed from all slurred to
articulated staccato. Source 5 uses the same rhythm in this measure as in the previous
measure; however, the notes are slightly different in the first two beats. The A on the
downbeat creates a neighbor group around G with the F-sharp from the end of the
209
previous measure. The harmony is slightly different for Source 5. Instead of a V chord
in C major, this measure remains on the C major tonic triad. This makes the notes
following the A chord tones as they descend the C major triad.
Measure 9
As with m. 8, the harmony for Source 5 is different from the other two versions in
m. 9. Beat one is again a tonic triad in C major. The four 16th notes on beats one and two
create a turn around G; however, the turn starts on the lower auxiliary F-sharp instead of
the main note.
Measure 10
In Source 9, a grace note has been added before beat one. Oboe 1 syncopates the
rhythm by putting accents on beats three and six. Beat four, which is the second strongest
beat in the bar behind only beat one, is not rearticulated in Source 5. The 8th note from
beat three is tied to the first 16th note of beat four. The D-sharps on the second 16th notes
of beats one and four are chromatic lower neighbors to E.
Measure 11
The slide that would be played before beat one in Source 9 has been written out as
two 16th notes to begin directly on beat one and land on the main note G on beat two in
Source 5. The quarter-note F on beat five is part of the harmony for that version. The Gsharp is an appoggiatura to the A.
210
Measures 12–3
In Source 5, the G on the second half of beat one is a chord tone. The D on beat
three is a passing tone to the C-natural. The C-sharp on beat four is a chromatic passing
tone. Instead of the lower neighbor figure in the other two versions, Source 5 creates a
turn, beginning on the chromatic lower auxiliary, around the main note D in the 16th notes
of beats four and five. The D on the second 16th note of beat five then leaps up to a chord
tone G. The F-natural on the second 16th note of beat six creates a neighbor group around
E-natural with the D-sharp on beat one of m. 13.
Measures 14–5
See mm. 10 and 11. The F-sharp on the second 16th note of beat one in m. 15 is a
chromatic passing tone instead of the diatonic F-natural used in m. 11.
Measure 16
This measure is similar to m. 12. The differences between Sources 2 and 9 for
this measure are the chromatic passing tone E-flat instead of a chord tone E-natural on
beat three in m. 16, the lack of a grace note preceding beat four in m. 16, and the use of
an upper neighbor instead of a lower neighbor on beat five in m. 16. Source 5
incorporates the E-flat on beat three as in the other version. Instead of creating a turn
around D-natural that begins on the lower auxiliary as in m. 12, Source 5 begins beat four
on the D natural and uses a diatonic upper neighbor on the second 16th note of beat four.
The G on the second 16th note of beat five is a chord tone, and the E-natural on beat six is
an appoggiatura.
211
Measure 17–8
The harmony on beats four through six for Source 5 is slightly different from the
other version with the addition of a V7 chord in both measures. These chords have been
indicated in parentheses. Beat four of m. 17 in Source 5 begins on the seventh of the
chord. The following 16th note E is a passing tone to D, the fifth of the chord. The
second 16th note of beat five is the root of the chord. The D on beat six of this measure is
tied through the first 16th note of beat one of m. 18. A retardation is created when it
resolves up to E on the second 16th note of beat one. The D on beat two becomes an
escape tone as it resolves down by leap to G, the fifth of the tonic triad. The only nonchord tone in the next group of 16th notes is the F-sharp, which is an appoggiatura, on
beat four. Although they are not non-chord tones because of the harmony in this
measure, the F-natural and D-natural create a neighbor group around the resolution to E,
the third of the tonic triad, in m. 21. Measures 19 and 20 do not exist in Source 5.
Measure 21
Source 5 ascends up the C major triad in the first three beats. The harmony, as
seen in parentheses, for Source 5 alternates between I on beats one through three and V
on beats four through six in this measure. The 16th note figure on beats four, five, and six
in Source 5 is similar to the one found on the same beats in m. 17; however, an extra 16th
note E is added to beat six that is an upper neighbor. The other version is a repeat of m.
18 with a one-note grace added to the G-naturals on beats two and five.
212
Measure 22
Both versions of this measure begin on a non-chord tone. The C-sharp in Sources
2 and 9 is a chromatic appoggiatura. The D in Source 5 is a non-chord tone because the
harmony for the first two beats of this measure is C major. The D sounds like a passing
tone because it is coming from an E in the previous measure, however, it is really a
suspension held over from the previous harmony. The D on beat three is an upper
neighbor to its surrounding C’s. In Sources 2 and 9, the E on beat two is a neighbor tone
to its surrounding D’s. The figure then continues down the G major arpeggio in beat
three. The figure in beats one through three is repeated in beats four through six. The
second half of the measure in Source 5 is harmonized with a V7 chord. The second 16th
note in both beats 4 and 5 is an appoggiatura to the next chord tone. Even though the D3
at the end of the measure is a chord tone, it continues the appoggiatura figure by
resolving to C3 in the next measure.
Measure 25
In this measure, Sources 5 and 9 alter the rhythm to accommodate the addition of
a chromatic lower neighbor in the first half of the measure and a trill and its Nachschlag
in the second half of the measure. In beats one through three, Sources 5 and 9 contain a
dotted 8th note followed by three 16th notes instead of a quarter-note and an 8th note. Also
instead of a quarter-note and 8th note, Sources 5 and 9 have the trill on a dotted quarternote in beats four through six.
213
Measures 28
Source 5 changes the rhythm in this measure. Both sets of three beats have the
following rhythm: one 8th note and four 16th notes. In beats one through three, this
rhythm allows for the interval between G2 and C2 to be filled in by a descending scale.
The F2 and D2 become accented passing tones. The leap up from C2 to A2 from the
unornamented melody in beats three and four is also maintained. Following the A2,
Source 5 leaps down to F1. The four 16th notes ascend the F major arpeggio, which sets
up the stepwise motion to G for the downbeat of the next measure.
Measure 29
The first six 16th notes in Source 5 are similar to the ornament at the beginning of
the previous measure. An upper neighbor tone A has been added. To accommodate this
addition, F has been omitted from this line. The leap down from G2 to E2 in beat two is
between two chord tones. By leaping up to C3, Source 5 creates a figure on beats four,
five and six that descends by step to the G on the downbeat of m. 30. The D is an upper
neighbor, and the B-flat is a passing tone.
Measures 31–2
See mm. 2 and 3. Source 9 has the written out inverted mordent on beat four of
both mm. 31 and 32. It is only in m. 3 at the beginning.
214
Measure 33
The A2 on the downbeat is an appoggiatura. In Source 5, the line descends down
the scale to C2, which makes the F2 on beat two and the D2 on beat three accented passing
tones. This line follows the basic shape of the unornamented melody but fills in the
interval between the G2 and C2. Beat four in Source 5 begins on the F2 as in the other
version; however, a lower neighbor is added between the 16th note F’s on beats four and
five. The second 16th note of beat five goes up to the A2 that is directly on beat five in
the unornamented version. The D3, which is an appoggiatura, also displaces the C3 by
half a beat.
215
Appendix 5: Table of Discrepancies between Sources 8 and 9
Measure #
19
24
25
26
27
28
30
31
37
39
40
41
42
43
44
45
46
47-8
48
49
50
51
54-5
62
71
72-3
75
83
83-4
84
87
91
92
93 and 94
95
95-6
96
97
97-8
99
99-100
102
103
104
107
114
117
134
Movement 1
Discrepancy type
articulation, Oboe: 8th note on 2& slurred to 3; Score: slur dotted quarter on 1 to 6th note on 2&
articulation beat 3, dot in score not in oboe
mf in oboe, not in score
trill, oboe vs. turn, score; articulation on b3
articulation Beat 4, Ob: 1+3; Sc: 1+2+1
Nachshlag on trill in oboe, not in score
phrase mark in oboe part over beats 3 and 4
articulation Beat 2, Ob: slur over beat 2, 3, and 4; Sc: slur 2 slur 2, tongue beat 3
articulation b3, no staccato in oboe
dynamics, crescendo and decrescendo in oboe part
p in oboe b4
crescendo in oboe part, not in score
articulation Beats 3 and 4, Ob: 1+2, detached legato; Sc: slur all; accent in oboe b1
articulation Beats 3 and 4, Ob: slur; Sc: 1+2, slur 3, and accent on beat 4 in score
articulation Beat 4, Ob: slur all; Sc: 1+2
?articulation Beats 3 and 4, Ob: detached legato; Sc: slurred?
articulation b1, Ob slur 3, Sc 1+2
?articulation, Ob: slur over bar; Sc: tongue down beat?
?articulation, Ob: slur over beat 3; Sc: tongue beat 3?
articulation Beats 3 and 4, Ob: detached legato; Sc: staccato
articulation Beat 1, Ob: slur 3; Sc: 1+2
Ob crescendo over whole bar, Sc crescendo over b4
articulation, Ob: slur over bar; Sc: tongue down beat
no p in score, instructions different
no sfz in oboe part on beat 1, no tie in score over beat 3
articulation, Ob: slur over bar; Sc: tongue down beat
articulation beat 3, Ob: slur whole bar; Sc: tongue beat 3
articulation, Ob: slur whole bar; Sc: tongue 2nd 16th note of beat 2
articulation, Ob: slur over bar; Sc: tongue down beat
articulation beat 3, Ob: tongue last 16th of beat 3; Sc: slur it
articulation beat 4, Ob: (no sfz) no mark; Sc: staccato 8th
crescendo in oboe part, not in score
decrescendo in oboe part, not in score
Placement of tempo 1, Ob: m. 94; Sc: m. 93
articulation and accents, Ob: 8+8, accents on & of 2 and 4; Sc: 4, 2+2, 4, 2+2
articulation, Ob: slur over bar; Sc: tongue down beat
articulation beats 3 and 4, Ob: slur to beat 3, 1+7; Sc: 2 staccato +6
articulation, Ob: slur whole bar; Sc: beat 3 slur 2 tongue 2, beat 4 staccato
articulation, Ob: slur over bar; Sc: tongue down beat
articulation, Ob: phrase marks over 1 and 2, 3 and 4, extra accents on 2, 2&, 4, 4&
articulation, Ob: slur over bar; Sc: tongue down beat
articulation beats 1 and 2, Ob: 1+7; Sc: 1+3, 1+3; trill not in score, f not in oboe part
articulation, same problem as m. 102
articulation, Ob: beats 1 and 2, 1+7, beats 3 and 4, all slurred; Sc: 1+3+4, 2 slurred 2 tongued, 4 slurred
trill, Ob starts on upper note; Sc starts on main note
accent in score on 2nd half of beat 1
trill exit, Ob: 8th notes C and D; Sc: 32nd notes A, B, B, D
maestoso in score vs. marcato in oboe
216
138
141
142-5
143
148
149
155-6
156
159
163
175
176
176-7
177-8
179-80
180
180-1
183
188
192
p in oboe
accent on beat 1 in oboe
phrase mark, Sc: slur over bar 145, slurs under phrase mark; Ob: tongue down beat, no slurs
trill start, Ob: upper note; Sc: main note
Accent in oboe on b3
rhythm beat 4 2nd half, Ob: dotted 16th 32nd; Sc: 2 16th
articulation, Ob: slur over bar; Sc: tongue down beat
phrase mark for detached legato, Ob: 1+7, down beat not DL; Sc: 4+4
No crescendo in oboe
accent, Oboe beat 1 vs. decresc in score
articulation of grace note, Ob: slur to main note; Sc: tongue main note
rhythm beat 3, Ob: 32nd note, 32nd rest, 3 16th notes; Sc: 4 16ths
articulation, Ob: tongue down beat, staccato; Sc: slur over bar
articulation, Ob: slur over bar; Sc: tongue down beat
articulation, Ob: slur over bar; Sc: tongue down beat
articulation beats 3 and 4, Ob: 2+4; Sc: 2+1, 2+1
articulation, Ob: slur over bar; Sc: tongue down beat
p in Sc, not in oboe
dynamics, p in oboe; pp in score
No fermata on last note in oboe
Movement 2
5
6
13
15
16
18
20-1
23
26
27
29
30
31
32
33
36
articulation
articulation, Ob: tongue beat 2; Sc: slur over beat 2
pp in oboe part, not in score
written out turn in oboe part, not in score
rhythm, correct in score
?
articulation
articulation
sfz and crescendo not in oboe; extra grace note in oboe
start of trill
phrase mark in oboe
rhythm, accent, phrase mark in score
grace note C in oboe, grace note D in score
dynamic, phrase mark in score
accent
p in oboe, not in score
Movement 3
7
8
9
11
12
14-15
16
20
23
30-1
32
35
articulation
articulation, beat 2
articulation
articulation
rhythm and articulation
articulation
articulation
articulation
articulation
articulation, trill in m. 31
accent and decresc. In Sc not in oboe
rit. vs. rall.
217
37
42 and 43
46-50
50
52
65-66
67
67-8
71
72
73
74
75-6
80-1
83
85
86
87
90
96
97
99
101
102
106
108
109
113
114
115
116
117
121
123
126
128
129-30
130
138
140
142-3
143-4
144-5
145
147-8
148-9
149-50
150-1
articulation
sfz
dynamics
articulation
articulation
f in oboe, not in score
trills, in oboe not in score
articulation, Ob: slur over bar; Sc: tongue down beat
articulation, and accent
articulation
articulation, and accent
articulation
articulation, Ob: slur over bar; Sc: tongue down beat
articulation, oboe slur over bar, Score tongue downbeat
staccato and accent in score, not in oboe
staccato
decresc. not in oboe; accent and staccato not in score
pp in oboe
sfz vs. accent
cresc in score; accent b4 in oboe
slur of grace note
pp in oboe
articulation
articulation
articulation
articulation
articulation
added note in oboe
articulation
articulation
articulation
articulation
articulation, phrase mark
articulation, phrase mark
articulation, phrase mark
articulation, phrase mark
articulation, Ob: slur over bar, 6+6; Sc: tongue down beat, 1+3+2+6
articulation
f in oboe, not in score
articulation
articulation, Ob: slur over bar, 2 slurred 10 staccato; Sc: tongue down beat, slur 12
articulation, Ob: slur over bar; Sc: tongue down beat
articulation, Ob: slur over bar, 1+6+6; Sc: tongue down beat, 6+6
articulation, and extra notes of ornamentation in oboe; enharmonic spellings
articulation, Ob: slur over bar; Sc: tongue down beat
articulation, Ob: slur over bar, 1+6+6; Sc: tongue down beat, 6+6
articulation, Ob: slur over bar, 1+6+6; Sc: tongue down beat, 6+6
articulation, Ob: slur over bar, reverse slur; Sc: tongue down beat, 1+2, 9 staccato
218
Manuscript and Printed Parts and Scores
Vogt, Gustave. Premier Concerto pour Hautbois Composé et Dedié à Monsieur
Sallentin Par son Élève Gustave Vogt, Premier Hautbois de la Musique
particuliere du 1er Consul, Oeuvre 1er. Paris: Ignaz Pleyel, ca. 1804.
———. Ca. 1806–27. Concerto Pour le hautbois par G. Vogt et copie par lui-même.
Bibliothèque nationale de France, Paris.
———. Copied by Auguste Bruyant. Ca. 1844. 1er Concerto pour le Hautbois devenu
4ème Solo de Concert par G. Vogt. Bibliothèque nationale de France, Paris.
———. Ca. 1844–69. Partition du 4ème Solo de Concert par Gustave Vogt.
Bibliothèque nationale de France, Paris.
———. Ca. 1844–69. 1er Concerto devenir 4ème Solo de Concert. Bibliothèque
nationale de France, Paris.
———. 4ème Solo de Concert pour Hautbois Avec Accompt. de Piano Par G. Vogt, Op.
Posthume. La Partie de Piano par A. Bruyant, Membre de la Société des
Concerts du Conservatoire. Paris: Richault et Cie., 1884–5.
———. 4ème Solo de Concert pour Hautbois. Edited by Lucien de Lacour. Paris:
Editions Costallat, ca. 1929–50.
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Curriculum Vitae
Mark A. Runkles
2989 Juniper Hills Blvd. Unit 102
Las Vegas, NV 89142
(702)622-6062
[email protected]
Education
2008–Present
University of Nevada, Las Vegas: DMA Oboe Performance
Oboe Professor: Stephen Caplan
Jazz Professors: Dave Loeb and Joe Lano
Symphony Orchestra and Reading Orchestra: Principal Oboe
2005–2008
University of Iowa: MA and MFA Oboe Performance
Oboe Professor: Mark Weiger
Jazz Professor: John Rapson
Symphony Orchestra and Chamber Orchestra: Principal Oboe
Johnson County Landmark: Lead Alto and Jazz Tenor Saxophone
2000–2004
St. Mary’s College of Maryland: BA Music
Oboe Professor: Vladimir Lande
Saxophone Professor: Don Stapleson
Chamber Orchestra: Principal Oboe
Jazz Ensemble: Jazz Tenor Saxophone
Professional Experiences: Teaching
2011–Present
University of Nevada, Las Vegas: Part-Time Instructor—Applied
Oboe
2008–2011
University of Nevada, Las Vegas: Graduate Assistant, SightSinging, Music Theory, and Music History
My duties as a graduate assistant included teaching Beginning Sight-Singing and
Beginning Music Theory to undergraduate music majors. I also assisted in two upperlevel theory and sight-singing classes. During the 2010-2011 school year, I assisted Dr.
Janis McKay with both semesters of the undergraduate music history classes. My duties
included taking attendance, grading tests and quizzes, and substituting as the class
lecturer on the couple of days Dr. McKay was out of town. Additionally, I played
principal oboe in UNLV’s conducting lab orchestra every semester as part of my
assistantship.
223
2005–2008
University of Iowa: Jazz Teaching Assistant
My duties as a teaching assistant in jazz included teaching the smaller review
sections for the large jazz history courses as well as grading papers, exams, and quizzes
for the students in my sections. As part of the assistantship, I played at times both lead
alto and jazz tenor saxophone in Johnson County Landmark, the school’s top jazz
ensemble. I also played both tenor and alto saxophone in the Latin Jazz Band and
recorded two CDs with them.
Professional Experiences: Performing
2008–Present
Las Vegas Philharmonic: Substitute Principal and 2nd Oboe
Fall 2010
Las Vegas Sinfonietta: Principal Oboe
2005–2006
Ottumwa Symphony: Principal Oboe
Summer 2004
Torino Philharmonic: 2nd Oboe
The concert in which I played in the Torino Philharmonic was part of the Alba
Music Festival in Italy. See below. I played 2nd oboe in Mozart’s Concerto for Flute and
Harp.
2000–2004
Chesapeake Orchestra: Assistant Principal Oboe, Tenor
Saxophone
Awards, Festivals, and Master Classes
Fall 2011
Richard Kravchak master class at UNLV
Summer 2011
Orfeo Music Festival
The Orfeo Music Festival is an international music festival in Vipiteno, Italy.
Aside from studying oboe with Stephen Caplan, I studied yoga and played in the chamber
orchestra (principal oboe) and several chamber ensembles.
Summer 2011
International Double Reed Society Conference
I performed as Principal Oboe in the UNLV Double Reed Ensemble at the 2011
International Double Reed Society Conference held in Phoenix, Arizona.
Spring 2010
Dan Stolper master class at UNLV
Fall 2009
Rick Basehore master class at UNLV
Spring 2009
John Dee master class at UNLV
224
Summer 2008
Jazz Vespers in Scotland
A jazz combo lead by John Rapson, the head of the jazz department at the
University of Iowa, was invited to play Jazz Vespers services for several Episcopal
churches in and around Glasgow Scotland. I played both oboe and tenor saxophone, and
our repertoire included one of my compositions, St. Mary’s Lament.
Spring 2008
Leslie Odom master class at University of Iowa
Fall 2007
Bert Lucarelli master class at OctOBOEfest
OctOBOEfest is held every other year at the University of Iowa and is a smaller
version of the International Double Reed Society Conference. Three major artists are
brought in to perform and give master classes. Vendors are also present. I performed
Antonio Pasculli’s Concerto sopra motivi dell’opera “La Favorita” di Donizetti for Bert
Lucarelli in 2007
Fall 2005
Charles Veazey master class at OctOBOEfest
Summer 2003, 2004 Alba Music Festival
The Alba Music Festival is an international music festival in Alba, Italy
associated with St. Mary’s College of Maryland. It is directed by Jeffrey Silberschlag
and Larry Vote. I played principal or second oboe as needed in the orchestra as well as
alto and tenor saxophone in the jazz concerts. I also played oboe in various student
chamber groups.
2003
Calvert Artists’ Showcase
The Calvert Artists’ Showcase was a fundraising concert for various charities in
Calvert County, Maryland. Acts from all of the performing arts were selected. The St.
Mary’s College Oboe Trio, of which I was principal oboe, played the second and fourth
movements of Beethoven’s oboe trio. At the last minute, I ended up playing In the Mood
on tenor saxophone for a pair of dancers.
Summer 1999
Amalfi Coast Music Festival
The Amalfi Coast Music Festival is an international music festival run by
Catholic University and situated in towns along the Amalfi Coast in Italy. Vladimir
Lande was the oboe instructor at the festival. I performed Bellini’s oboe concerto and the
first two movements of Beethoven’s oboe trio.
225
1999
St. Mary’s Fellow
As a St. Mary’s Fellow, I received a scholarship as a senior in high school to St.
Mary’s College of Maryland to take four credit hours. I used this scholarship to take
Chamber Orchestra and the first semester of Music Theory.
Recitals
Fall 2012
Lecture Recital
A New Critical Edition of Gustave Vogt’s
4ème Solo de Concert
Fall 2011
Ludwig van Beethoven
J.S. Bach
J.C. Fischer
Variations on “La ci darem la mano”
Violin Partita III in E Major, BWV 1006
Concerto No. 2 in E-flat Major
Spring 2011
My spring 2011 recital was a jazz oboe recital. I played with a rhythm section of
piano, bass, and drums. All ten tunes are my own compositions. The list of tunes is as
follows: Snake Eyes, Lydia’s Spiritual, Cactus Flower, Desert Scape, Winter Blues,
Sands of Time, Joshua Tree, Phrygia’s Trane, St. Mary’s Lament, and Desert Rain.
Spring 2010
Richard Strauss
Mark Runkles
Oboe Concerto
Snake Eyes
St. Mary’s Lament
Phrygia’s Trane
Desert Rain.
Fall 2009
W.A. Mozart
Alessandro Besozzi
Benjamin Britten
Antonio Pasculli
Oboe Quartet in F major, K. 370 (368b)
Sonata No. 1 in D major
Temporal Variations
Fantasia sull’opera “Poliuto” di Donizetti.
226
Spring 2009
Antonio Vivaldi
Nikos Skalkottas
Antal Dorati
Christian Frederik Barth’s
Sonata in G Minor, RV 28
Concertino for Solo Oboe and Piano
Accompaniment
Cinq Pieces pour le Hautbois
Sonate Brillant for Oboe and Piano.
The first three pieces were from the repertory of the International Double Reed
Society’s Gillet Competition, which I entered.
Spring 2008
Ludwig van Beethoven
Gustave Vogt
Chick Corea
Mark Runkles
John Rapson
Trio for Two Oboes and English Horn,
op. 87
4ème Solo de Concert
Sea Journey
St. Mary’s Lament
Saideira em Barao Geraldo.
I concluded the recital with three jazz tunes that we would take to Scotland for
several jazz vespers services.
Fall 2007
Ralph Vaughan Williams
Benjamin Britten
Jeffrey Agrell
Telemann
Antonio Pasculli
Ten Blake Songs
Six Metamorphoses after Ovid, op. 49
Blues for D. D.
Sonata for Oboe and Basso Continuo In A
Minor, TWV 41:a3
Concerto sopra motivi dell’opera “La
Favorita” di Donizetti.
Fall 2007
This recital was played on tenor saxophone and consisted entirely of music by
John Coltrane. The quartet for this recital consisted of tenor saxophone, trumpet, bass,
and drums. This was unusual because the rhythm section did not contain a chordal
instrument, either piano or guitar. We played Spiritual, Equinox, and the entirety of A
Love Supreme.
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Spring 2007
Marin Marais
Saint-Saëns
François Devienne
Louis Stanislas Xavier Verroust
Les Folies d’Espagne
Sonata for Oboe and Piano, Op. 166
Sonata in D Minor, Op. 71, No. 2
Premier Solo, Op. 73.
Fall 2006
W.A. Mozart
Ignaz Lachner
Antonio Vivaldi
Casimer Theophile Lalliet
Oboe Quartet in F major, K. 370 (368b)
Concertino for Oboe in Bb major
Oboe Concerto in C major, RV 447
Fantasie on Flotow’s “Martha,” op. 23.
Spring 2006
J.S. Bach
W.A. Mozart
Antonio Carlos Jobim
Thelonious Monk
Young and Washington
Sonny Rollins
Sonata in G minor, BWV 1030b
Concerto for Oboe in C major, K. 314
(285d)
Corcovado (Quiet Nights of Quiet Stars)
Well, You Needn’t
Stella by Starlight
Oleo
I played the Bach and Mozart on oboe and the jazz standards on tenor saxophone.
Fall 2005
Richard Strauss
Oboe Concerto
Spring 2004
Antonio Vivaldi
Francis Poulenc
W.A. Mozart
Concerto in A Minor for Oboe and Strings,
RV. 461
Sonata for Oboe and Piano
Concerto for Oboe in C major, K. 314
(285d)
Spring 2004
Billy Strayhorn
Henry Mancini
Horace Silver
Jerome Kern
Heyman and Green
Sonny Rollins
Take the A Train
Days of Wine and Roses
Song for My Father
All the Things You Are
Body and Soul
Tenor Madness
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Antonio Carlos Jobim
Johnston and Burke
Wave
Pennies from Heaven, Killer Joe, and The
Flintstones Theme
References
Stephen Caplan
Email: [email protected]
Phone: (702)895-3738
John Rapson
Email: [email protected]
Phone: (319)936-7716
Vladimir Lande
Email: [email protected]
Phone: (443)850-3349
Don Stapleson
Email: [email protected]
Phone: (301)751-8126
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